Smiles will surface, regardless, as Godzilla vs. Kong is pure escapism and tremendously fun. Legendary clearly took constructive criticism to heart by tinkering with the pitfalls of its Monsterverse, all of which makes for a stylish theme park ride that rarely loses steam. Granted, the smash ’em and mash ’em action may not be for everyone (you have our sympathies), but for those starving for a rock ’em and shock ’em blockbuster, step into the ring with Godzilla vs. Kong.

Unlike similar thrillers cut from the same antihero cloth, Katz and Blair aren’t too concerned with frivolous and expected dalliances like redemption or honor. Instead, they run Coster-Waldau through the ringer, capitalizing on an unforgiving narrative that may be too bleak and uncompromising for some.

A United Kingdom hits all of the necessary emotional notes and political intrigue of a solid historical figure drama.

While not bursting with ambition or any interest in deviating from proven formula, A New Era does exactly what you hope it would do, and give series fans a little more time with beloved characters, even daring to alter the status quo in one or two major ways.

Morgan isn’t hard sci-fi. It isn’t trying to solve the questions that have suffused the genre since its inception. Rather, it couches those ever-more-timely concerns in scenes of high action and affecting character connection.

The film is a welcome return to form for Howard, containing all the makings of a competently crafted crowd-pleasing drama.

The Long Walk offers a gripping premise, a lot of characters who feel more like loose sketches than fully-realized personalities, and a narrative that maybe has some minor pacing problems towards the end, but is pretty impossible to turn away from.

It’s not easy, balancing careful character development and a vivid sense of place with the bloodlust of expectations, but Zahler’s done it here.

Although the film lacks his absurdism, there’s a musicality to Wain’s direction that’s addicting, and the emotional punch in the final five minutes proves there’s a future for the filmmaker that goes way beyond the yucks.

The film drags to some degree in the middle, but that’s because Domont isn’t afraid to wallow in the messiness of watching this relationship fall apart almost in real time. This is also the sort of movie that makes the viewer very, very grateful to see in the credits that an intimacy coordinator was involved, especially as things get darker towards the end.

See How They Run feels like it was designed in a lab to please fans of this genre, with Mark Chappell’s script keenly identifying the most beloved tropes of classic murder mysteries while playing with them just enough for freshness.

It isn’t the gritty, realistic portrayal of life on the streets that Caple might have been going for — he’s too poetic a filmmaker for that — but it lends shape and color to a truth that too many inner-city kids know too well: It doesn’t matter if you care about the future. The future doesn’t give a shit about you.

Shyamalan ingeniously places his leading man front and center, where McAvoy amuses and horrifies as the cliché plot points sometimes stumble.

It’s doubtful that die-hard Kenny haters will come away with a new understanding of or appreciation for the man. But for those curious about where he came from and those who want to consider why his beloved status rubs so many people the wrong way, there’s a lot to like.

By all means, watch it for Gaga doing The Most, or Leto pulling out the most eye-poppingly bad performance of the year with every falsetto lilt of his voice. But be ready for Gucci to try in vain to steady the ship and Get Serious about the all-consuming power of greed, and to yawn when those moments seem to linger too long. Believe me, I wish House of Gucci had a greater share of Lady Gaga death stares and pointed sips of espresso.

This is Meg Murry’s movie, and while DuVernay’s visually stunning film may occasionally stumble, Reid does nothing less than soar.

If Robinson’s style of humor puts you off already, rest assured that Friendship doesn’t break his existing comic bold. But for those shirt brothers in the Tim Robinson cult already, the Dan Flashes buyers and zipline pullers among us, Friendship offers next-level cringe packaged in something far more Kaufmanesque than his usual fare.

For any parents reading this — it might not be the best film of the year, but you're going to be able to watch The Super Mario Bros. Movie more than once without losing your dang mind.

It’s less an attack on big business (though such sentiments are certainly present) than a call for a rational assessment of proven facts. If it does occasionally dabble in hero worship of its subject, it also makes the effective case that somebody has to keep showing up when nobody else can be bothered.

News of the World is a perfectly solid, decent entry into the burgeoning sub-genre of Tom Hanks Doing Dad Stuff movies. It’s well-made, direct, and unfussy in its storytelling.

Filmworker makes a compelling argument that the Kubrick who lives in cinematic legend may not have become the man he’s remembered for being without Vitali around.

Central Intelligence is genuinely funny, intriguingly plotted, and quite frankly one of the biggest surprises of the year.

Like Father is confidently shot and showcases some lovely Caribbean scenery, but Rogen’s biggest strength as a writer/director is her masterful understanding of tone. She’s crafted a genuinely moving father/daughter dramedy in what feels like a heightened studio comedy.

The new characters of Inside Out 2 are a success, and the voice actors definitely help bring them to life...The only problem is that the new characters in Inside Out 2 begin to outshine the old.

It’s essentially David Fincher’s The Game matched with the comic overtones of Horrible Bosses, which is why it winds up being an entertaining jaunt.

There’s little camp or gimmickry to be found, which is refreshing for a sub-genre whose films so often resort to bad jokes and kitsch violence.

Only in its final stretch does Midnight Special start to lose its distinct identity.

Grass Is Greener may ultimately be preaching to the chorus, but its simple messaging could draw in people who enjoy getting high, but aren’t fully aware of the broader political implications. As uses for streaming services go, there are far worse ways to burn down an afternoon.