It's bold, nasty and gleefully disturbing, and will stay with you once the lights go up. For horror fans, those are all good things.

While Diane is perhaps 96 of the most depressing minutes on film this year, its quiet honesty is compelling. treating aging and death with a respect to the inevitability of both.

[Estevez] still hasn't progressed beyond the film-school basics, but somehow he managed to recruit an all-star cast of (presumably) like-minded activists for The Public.

Like Tom Hanks in Big, Levy does a great job of capturing — or parodying — the giddiness of a kid flexing his adult muscles (literally and figuratively). The two-hour-plus running time breezes by in a well-paced adventure that mines familiar comic-book tropes for laughs.

Director Shawn Seet’s film is surprisingly sweet and moving.

The Wind succeeds on two fronts. First, the despair of isolation comes through on nearly every frame, a situation as dire as any demon. Secondly, Lizzy stays steadfast, refusing to succumb even as her husband disappears. That's a credit to the vision of Tammi, who refuses to let the The Wind devolve into a typical, and predictable, horror movie.

The title implies a sort of old-world glamour, but the proverbial gilded cage is looking a bit dilapidated in The Heiresses, a subtle but intense character study from Paraguayan director Marcelo Martinessi.

Movie-release schedules are set by studios months in advance, and many are the movie that had the misfortune to open at an inopportune time. But Hotel Mumbai is responsible for myriad other poor creative decisions that make a spectacle of misery.

As far as acting, DeVito steals the show with characteristic energy a ringleader would be proud of. But Farrell's chemistry with the kids never takes off, costing the film a portion of emotion. And the writing doesn't help much, either. The family's relationship is supposed to be strained, but it never feels like they convincingly resolve insecure feelings around each other. Still, no matter how fans look at it, it's hard to deny how adorable Dumbo is.

Those who enjoy either World War II movies or period dramas likely will enjoy this movie, even if some of the plot twists are predictable. It's an enjoyable deviation from the typical war story, but if there were more layers of warmth and stronger emotional connections between the characters, it could have built to a more satisfying conclusion.

Peele’s visual audacity is at times breathtaking, and always serves a greater purpose. There is a beautiful overhead shot of the family walking along the beach, carrying their supplies, casting long shadows. There’s no way to know in the moment you’re admiring this that it carries meaning that informs the rest of the film. That’s just terrific filmmaking.

For all its vivid period atmosphere and striking scenes, there is a meandering quality that keeps the film from being truly involving. It's not the lack of sentiment, but perhaps the absence of any sort of momentum.

Directed by John Lee Hancock (The Blind Side, Saving Mr. Banks), it’s a well-crafted procedural, but it’s also a whole lot of familiar tropes put together in familiar ways.

It may be haphazard and loosely focused. But thanks to Skarsgård it’s never really boring.

What seems primed to play out like a by-the-numbers social message movie with a classic redemption arc becomes something much more sophisticated, and much more challenging for the viewer. Schoenaerts' performance deserves much of the praise.

The screwball plot is woefully thin and predictable, with inane situations and characters who barely act human.

It’s a weird little genre, the sick-teen romance. “Five Feet Apart” winds up as just a pedestrian entry in it, because it tries way too hard on the melodrama front. Being a teenager is difficult enough. Being a sick teenager is presumably that much harder. Being a teenager in “Five Feet Apart” means suffering from something else, in addition: overkill. And that’s deadly.

In a world where film arguably celebrates youth more often than middle-aged people in Hollywood, it's refreshing to see the opposite artfully done with one step on the dance floor at a time.

Climax is actually two movies, one in which you hang out at a party with young dancers who are as wearisome as they are flexible, and the other with the same group on acid. Neither is the least bit interesting.

It’s a movie that maybe tries to do too much, but it does enough of it well to keep you glued to the screen.

The film evolves into one of those "watch the hostage fall in love with her captor" tales, always an icky plot development that's not any more appetizing here. There are some more twists to be had, but it's never more than marginally interesting.

For all its thematic and behind-the-scenes innovations, cinematically Captain Marvel feels like a step backward for the MCU. Fresh off the heels of the all-or-nothing bombast of “Avengers: Infinity War,” the righteous representation of “Black Panther” and the giddy lunacy of “Thor: Ragnarok,” Captain Marvel is a retreat into a bland formula.

The great strength of The Sower is that it doesn’t try to do too much. It zooms in on its microcosm with a tender urgency that offers a glimpse of complex humanity without reducing the story to some sort of pithy takeaway.

¡He Matado a Mi Marido! seems to be inspired by the kind of bold comedies that Pedro Almodóvar specializes in, with divas at center stage and madcap situations. But writer-director Francisco Lupini-Basagoiti is no Almodóvar, mistaking stupidity for zaniness.

With moments that harken to De Palma's "Carrie" (the claustrophobic toy box mimics Carrie's closet) and even "The Hunger," Greta is a mishmash of tropes masterfully compiled into a chilly and taut flick

One kudo to this lazy effort: The climax does have a real end-of-a-trilogy feel, making further sequels less likely. Silver linings, folks.

Broderick and Röhrig's chemistry is so unusual that it works well in this strong feature film directing debut for Shawn Snyder. And that goes for the whole movie. It's so odd that viewers need to see it.

It's fascinating and unpredictable, so much so that the fate of Irene almost becomes a secondary concern. And thanks to the very clever and very compassionate way that Farhadi has crafted this film, that's not a flaw.

Credit returning director Christopher Landon and screenwriter Scott Lobdell (Landon co-writes this time) with trying something different with the story. Blame them for not doing something better.

Even if your veins pump with more popcorn butter than blood, Alita: Battle Angel can get a bit too stupid to bear, like watching a pair of 13-year-old boys play a very expensive video game they designed themselves.

The problem isn’t that it pokes fun at romantic comedies, it’s that it itself isn’t a terribly good one.

Elliott's performance as Barr makes the movie.

You don't have to be endowed with an otherworldly gift to know that What Men Want will do little to please the men or women watching it.

While it necessarily lacks the joy of discovery the first movie brought, “The Lego Movie 2” is still a breathless romp, landing enough jokes a minute to discourage over-analysis. It’s a good time at the movies, which is all a Lego movie really owes us for the price of admission.

Dig a little deeper, however, and you’ll find … another Liam-Neeson-gets-revenge action thriller. But one with quite a few laughs thrown in amidst the unlikely ugly heroics.

All elements of the film cohesively create a must-see film about overcoming fear for kids and adults.

The Invisibles is part documentary and part feature film. For most of the movie, it's a good thing.

It looks great, Abbott is twitchy and terrific and you really want to like it. But it's never particularly involving, and it becomes even less so as it progresses. Ultimately, it's just a gorgeous, gruesomely wrapped package with little inside.

When an inane ending appears out of nowhere and purports to add depth to a movie which has little? That's just maddening. And the twist in Serenity leaves you feeling both cheated and annoyed, which surely isn't the filmmaker's intention.

People who love thrillers without question may find a lot to enjoy here. For a political thriller, it's not one of the most cerebral out there. Those who simply love Curtis and Sumpter might also like the film. But other than those perks, audiences are better off saving their money.

The modern interpretation of King Arthur will entertain young viewers, eager to follow a story that doesn’t require Merlin’s magic to see where it’s headed.

Inevitably, embroidering upon a fairly simple idea saps some of its impact, and Glass ends up tipping more toward the self-conscious genre-riffing that “Unbreakable” offers an antidote for.

The film has so much potential, but it's a shame that it all falls flat.

Capernaum is a tough slog, no doubt, even by tough-slog standards. But that’s a big part of what makes it so rewarding.

Destroyer frequently zombie-shuffles into unintentional hilarity, confusing darkness for depth, ugliness for complexity, convolution for smarts. It is just too self-serious to take seriously.

It’s clear from the opening shots that a physically and psychically savaged post-war Poland is impossible ground for love to flower, and it’s a testament to Pawel Pawlikowski’s talent that this fatalism makes us more, not less, invested in the romance.

Laurel and Hardy embarked on their tour to stay relevant in the public's heart. Through this delightful representation, a new generation of viewers can experience their timeless comedy.

Despite their palpable comedic chops, Hart and Cranston are unable to make this unlikely and stereotypical pair likable.

The dialogue snaps with precision and cringe-worthy humor; at times, you feel like you're having one of those awkward moments in which you watch a couple bicker. The movie is delicately perched between low-key believability and telenovela melodramatics, yet never falls too far to one side.

Landais certainly brought little cinematic verve to The Aspern Papers, telling the story largely in turgid literary voiceover lifted directly from the original source material.

At least it could have been fun-bad, not just boring-bad.

It has a serviceable, conventional approach that summarizes the extraordinary achievements of a remarkable woman but offers little more than predictable and inspirational Pinterest-quote fare that would have been better suited for an HBO TV movie.

Jenkins brings an urgency to If Beale Street Could Talk, along with the melancholy of problems still yet to be solved.

How you feel about the film will depend on how you feel about politics, probably. But don’t let partisanship get in the way of appreciating another inventive film from McKay, and some truly brilliant performances. Surely on that, we can all agree.

It's clear this movie is for a certain audience, but at least the film embraces its genre and the jokes stick the landing. It's definitely worth a watch for fans of movies with an early 2000s rom-com aesthetic.

To put it in terms Charlie would dig, “Bumblebee” is like an 80s mixtape that’s all hits, no deep cuts. Nothing here surprises save the perspective. But that’s enough to save it.

Though lacking in subtlety, Robert Zemeckis' Welcome to Marwen delivers a sentimental fantasy world worth wading in.

Bird Box is scary, but it also feels very human.

The House That Jack Built is more than just an epic piece of cinematic trolling; it’s von Trier taking a microscope to his creative process in all its obsessive ugliness, creating a sophisticated meta-commentary on his art and daring the audience not to be entertained by his extreme indulgence in all the predilections for which he’s been roundly criticized.

Mortal Engines is an entertaining movie if you don’t ask to many questions of the story and stick to what’s put in front of you onscreen.

There is the occasional cool visual and clever world-building detail, like jellyfish couture and eye-popping underwater physics, but Aquaman never fully commits to its lunacy.

The whole cast does a phenomenal job. The movie is worth seeing purely for their performances, especially Newton, who gracefully balances the role of a caring yet apprehensive sister.

It breathes youthful life into a tired franchise and makes the smartest transition yet of characters from the comics to the big screen with clever animation and thoughtful storytelling.

OK, maybe they cut a couple seconds out of that scene where Deadpool gets ripped in half, but the movie's sardonically gruesome sensibility remains intact.

Emily Blunt is practically perfect in every way as Mary Poppins. Her comedic timing is incredible, and she embraces Julie Andrews' prim and proper British snark with grace.

This is not a flat and lifeless biopic in which a creation loses a bit of its wonder in the dissection of its inspiration. “Becoming Astrid” sidesteps that pitfall by focusing on the writer’s painful passage into womanhood, telling an intimate and unhurried story of quiet triumph over pain.

Border brings to horror-fantasy the same Swedish sensibility that “The Girl With the Dragon Tattoo” brought to crime thrillers. Welcome to the land of eternal night.

Each of the spectacular ascensions and drops in power throughout the 18th century-set The Favourite is filled with spectacle, betrayal and plenty of humor.

Though it's a long ride, the movie is sure to please a patient audience with fans of political and historical dramas.

Asher can move slowly at times, kind of like its main character, but you find yourself rooting for the old guy. You’ll want to stick around to find out if he makes it to the retirement home for hitmen.

It's an affecting, visceral work that deserves eyes on it no matter if it's projected in the darkened recess of the cinema or streamed in the comfort of a living room.

Ortega wants us to see that allure, feel that lust. But to do it, he has to turn fact into fiction.

Firth remains in low gear throughout his character’s transition from fuzzy dreamer to desperate schemer to mad transcendental poet. It takes a bit of voiceover to get the job done, but Firth’s steadfast refusal to chew scenery turns out to be the key to his performance

It’s a bit of a letdown, though still entertaining.

The matches between Adonis and Viktor are captivating even for non-boxing fans wrapped up in the drama as slow-motion punches swing right at the camera. This deeply personal, high-stakes battle is a chance to change history for both characters who may become just as iconic as their predecessors to a new generation.

With a filmography stuffed with masterpieces, the Coen brothers’ greatest trick is balancing the ironic commentary on cinema and storytelling with the dramatic impact of compelling human stories well told. And it’s a trick they pull off again and again.

Green Book is not unthoughtful in its crowd-pleasing. It’s just that such crowd-pleasing feels inappropriately quaint for 2018.

The result is too well-meaning and sincere to truly dislike, but too frictionless and manufactured to do right by the complicated scenario.

While it is a perfectly serviceable placeholder in the larger series, its contributions to the Potterverse are disappointingly minor.

Widows works best as a slow-burn thriller, a masterclass of patient reveals and cleverly withheld information (which, as any fan of her knows, are Flynn’s hallmarks). But Widows has more to say, touching on the topics of generational power, the dynamics of race in politics and marriage, the institutional racism present in police violence.

More than simply a look at the conversion therapy, the film examines the bonds between parents and children.

Unfortunately, nothing in the film –Foy's performance included – cuts the chill, and you're left trapped in a big, wintry void.

It takes the charred bones and ash of Argento's witches and roots them in a reality entirely familiar to our own.

Fans of fancy period costumes and supernatural effects both get plenty to gawk at, but the story offers no real surprises, and that includes the big plot twist.

Monster Party is a twisted, grisly little shocker that isn’t afraid to grab you by the guts — or to show you a man’s guts cascading to the floor. It’s that kind of movie. It’s also pretty effective and rather fun, if you have the stomach for this sort of thing.

If it doesn’t have the family drama of “Walk the Line” or the psychodrama of “The Doors,” Bohemian Rhapsody does deliver what any music biopic must: convincing characters and some kick-butt simulated concert experiences.

Director Marielle Heller delivers a solid movie with fantastic acting, creativity and engagement.

A delicately balanced, mature drama, What They Had portrays a family devastated by Alzheimer’s with accuracy, empathy and respect, capturing both the heartache and unexpected tenderness of caring for a loved one coming slowly undone and the familial bonds that are tested and forged in the process.

Come see Wildlife for Jake Gyllenhaal and Carey Mulligan, but stay for the young actor who plays their 14-year-old son.

Hill isn’t offering a sociological treatise. Mid90s is all about lived experience. It’s about a place and a time and offers little inkling of its characters’ futures.

Director Felix Van Groeningen unflinchingly depicts the struggles and hopes of a family affected by drug addiction in a powerfully honest movie with gut-wrenching acting.

Somewhat courageously, the film’s real focus is not on the obvious villains in this tale of two Americas, but on the absurd contradiction of its liberal hero watching a political apocalypse unfold on his iPhone.

Despite its ostensive seriousness, Galveston is a tepid crime drama without talons sharp enough to sink into the audience.

There is a staginess to the action that creates a certain distance between the film and viewers (an opening sequence almost feels like like you're watching a play). That's another Tarantino-style touch. However, you never feel too disconnected, thanks to the good work from the cast.

This timely movie is a must-see.

The goal here was to show the tragic downfall of a once-praised hero, similar to the actual poem written by Wilde with the same name. But because of the lack of depth in supporting characters and half-baked writing, this movie couldn't have ended fast enough.

The film gifts us with a fresh perspective, not just of the space race, but of ourselves.

David Lowery’s film is about as quiet and patient as what is ostensibly a caper movie can be. Yet its engine never idles, in large part because Redford, at 82, remains a movie star, someone to whom we are drawn, even as he is politely robbing a bank with a note, a gun and a smile.