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.