Scintillating black comedy of manners from Yorgos Lanthimos, it latches its fangs in deep.

An anime version of "Mr. Mom" this is not. Director Hosoda’s clear-eyed story allows for comic moments of fatherly ineptitude but focuses just as often on the marital and familial stress this sudden role reversal causes.

A complex and fascinating look into a convergence of creativity, money, and iconoclasts, Meow Wolf: Origin Story is a tale that to my knowledge has no precedent. And while Meow Wolf might not be to everyone’s tastes, they are trailblazers. I’ll take their elaborate and inventive installations over pastel desert paintings of horses and clouds any day of the week.

Maria by Callas is not the place to look if you’re in search of a biography of the star.

The signature refrain of "Hollywood Ending," with its high-kicking energy and table-punching emotion, is just irresistible. It's the sweet that balances out the bitter of a film that makes it clear that this won't all end well. Anna and the Apocalypse is like biting into a candy cane and getting jabbed by those sharp, sugary shards.

A vibrant, outspoken, and incredibly talented artist, this doc is both a biography of a life and a document of a person living on her own terms, just trying to figure things out like the rest of us.

Robin Hood isn’t as awful as all that, really. For one thing, it’s too singularly bizarre to be anything less than head scratchingly entertaining, and the action set-pieces are pulled off with much quivery panache.

The script unfortunately replicates one of the worst errors in "Toy Story 3": Sidelining just about every major supporting character from the early installments.

Two terrific performances and the interplay between the two actors – Mahershala Ali and Viggo Mortensen – are the reasons to see Green Book. Their pas de deux is a master class in acting, and the twosome’s give and take provides good company for the road trip that comprises the heart of this narrative.

The Front Runner spends too much time involved in the glare of the situation rather than examining its intricacies or characters. Like many of Reitman’s films, particularly Men, Women & Children, The Front Runner is interested in the subject of privacy as mitigated by the TMI era. The character of Gary Hart, unfortunately, becomes only a means to this end.

The casting is solid, with an even more pumped-up Jordan once again anchoring the movie as the conflicted young boxer in the title. But it’s the underdeveloped villains of the piece who ultimately prove more intriguing, despite their one-dimensionality.

The challenge – the one this film proves incapable of overcoming – is how you marry a broad family comedy with the endless complexity of the adoption process.

At every turn, corruption oozes from the pores of this thriller, and although the film’s tone keeps us on edge, Widows also hits a few perfunctory pits in the road.

What I learned from Monrovia, Indiana is that I – personally – am bored by mattress shopping, City Council arguments over fire hydrants, and high school band concerts I am not obligated by shared DNA to attend.

When it comes to buddy comedies, The Long Dumb Road isn’t exactly forging new territory. It’s a bit like "Planes, Trains and Automobiles" refitted for the 21st century, yet it’s grounded in a nostalgic sense of kismet that predates using an app to order rides from strangers.

While Cam feels authentic, it's not a documentary.

Ultimately, Buster Scruggs is lesser Coen, despite the movie bearing many of the filmmakers’ trademarks. Both silly and serious, it’s a hodgepodge in spurs, a horse opera with nothing but arias.

On the strength of this sequel – a dense yet deft return to the high standards Yates set with the Potter films – count this Muggle’s heart and mind all in.

What They Had has a lived-in ring of truth that will be instantly recognizable to any caregiver, spouse, child, or other loved one who has experienced something of this sort.

With Burning Lee has molded a psychological masterpiece that will leave you full of doubt, dread, and searing questions about morality.

Clever, dynamic, and full of little touches of world-building that will drive science-fiction fans wild, Prospect is destined to land on every list of underrated genre films for years to come, long after it has ceased being any semblance of underrated. Stay one step ahead of the curve and see it.

There are even times when both the subject and aesthetics of A Private War seem to align accordingly; unfortunately, the film is incapable of sustaining this poignancy for any extended period of time.

Remove the horror aspects, and Overlord is ham-fisted and oddly unimpressive.

Outlaw King gets far more right than it ever gets wrong. Fourteenth century Scotland wasn't kilts and Pictish face-paint: It was a Late Middle Ages nation, with elaborate regal clothing at court, elaborate cravings and furniture, a distinct culture – and mud and blood and violence.

While rarely feeling heavy-handed, Lez Bomb manages to be both over-the-top funny and yet incredibly realistic, sans the doom and gloom of yesteryear.

The plots of these films and stories, and so much of Scandinavian crime fiction in general, often rely too heavily on coincidence and chance, be they serial killers or multinational cutthroats. And while this chapter of Lisbeth’s life is similarly convoluted, they are dark and gritty and compelling.

In The Grinch power rankings, this one trails Theodor Geisel’s original 1957 storybook and Chuck Jones’ cheeky 1966 TV special by a long mile.

Yes, Boy Erased is a horror movie, but it bears pointing out that the emotion is by definition intertwined with both empathy and a certain sense of compassion. Terror elicits a shriek. Horror hits you in the heart, and the next thing you know you’re sobbing. Bring some tissues.