Aida's Secrets starts out as a fairly straightforward documentary about reuniting two long-separated brothers, but directors Alon and Shaul Schwarz don't stop there.

For all its heart and beauty, The Breadwinner sputters a bit to a close. Its themes are undeniable — one walks away feeling angry and empowered. But with the story’s soft focus, one soon forgets why.

Frank Serpico doesn't supersede "Serpico," and it isn't meant to. Instead it serves as an interesting companion piece, one well worth watching.

Roman J. Israel, Esq. is a surpassingly strange, often frustrating movie.

It lays on the pathos, moralizing and forced whimsy thicker than figgy pudding, but it’s still entertaining, heart-warming family fare, thanks in large part to charmingly sincere performances.

Yes, the latest Pixar offering involves a journey to the Land of the Dead, which by definition requires people to, you know, die. That's always sad. But there's joy here, particularly in the animation and the cinematography; the Land of the Dead is a beautiful place, which is kind of comforting

"Three Billboards" is a really good movie filled with terrific performances, but what McDormand is doing here surpasses them all.

Wonder will make you cry — that’s one of the main purposes of its existence — but it’ll also drive you a little crazy.

Justice League is, if flawed, at least a step in the right direction. But there's still a journey ahead.

It looks nice, but it's not really going anywhere.

Instead, the story is largely told from Dahmer’s perspective, and we know too much about where he ends up to feel anything like sympathy for him. It’s still a morbidly fascinating peek behind the blood-stained curtains.

Last Flag Flying is a movie about a long road trip that sometimes feels like a long road trip — it's sometimes funny, sometimes sad, sometimes poignant, and while the destination is never in doubt, occasionally the company drives you a little crazy.

This is a fully realized film, with a confident eye and lived-in performances. What a treat.

LBJ, Rob Reiner's film, benefits greatly from an absolutely all-in performance by Woody Harrelson as the former president. But it also benefits from the current president, or at least the current administration.

Despite its familiarity, A Bad Moms Christmas is a touch better than the first bacchanal.

Thor: Ragnarok is a blast, pure and simple.

Suburbicon is a hybrid of two ideas — two movies, really — and it isn't clear whether either would have worked separately. What is clear is that they don't work together.

It's a gorgeously sterile film, fascinating to look at, sometimes painful to watch. The performances are outstanding; yet the actors, including Colin Farrell and Nicole Kidman, are toned down almost comically, often giving robotic line readings to empty bromides.

Jane is a compelling movie, one that shows us not just more of the world, but also our place in it.

Hall is a workmanlike director, taking a meat-and-potatoes approach to the story. But it fits the subject matter here. Thank You for Your Service is not a great movie by any stretch. But it is a good one, and perhaps more importantly, a necessary one.

Strange, surreal and compelling, All I See Is You is a dreamy exploration of a marriage, and what happens when all of its imbalances and insecure quirks are suddenly thrust out in the open. It’s also something of a thriller, and the two worlds don’t mesh in a way that is completely satisfying. Still, it’s riveting to watch everything unfold.

It’s an action movie without an exciting moment. It’s a special effects flick with chintzy visuals. And it’s a Gerard Butler vehicle without enough Gerard to go around.

While Leatherface, a prequel directed by Alexandre Bustillo and Julien Maury (“Inside”), works OK as a gory horror film (necrophilia, beheading, partial defenestration and beating eaten alive by pigs are a few of the delights), it makes less sense as part of the surprisingly (and needlessly) expansive “Texas Chainsaw” universe, as it were.

These are fantastic performances, even if they’re painful to watch. Una isn’t pretty, but it is powerful.

Breathe is a valentine, but it's a valentine that is quite moving.

The Snowman is like if aliens studied humanity and tried to make their own movie in an attempt to communicate with us. This simulacrum contains all the requisite pieces of a movie, but humanity got lost in translation.

When telling the story of real-life heroes, it’s easy to lapse into clichés. What makes the terrific Only the Brave such a powerful movie is its abject rejection of them.

Once you get past the premise — and granted, that takes some doing — Happy Death Day turns out to be goofy good fun.