Moshe’s approach turns the Western genre on its head by having the sidekick rise up as the hero.

Snyder’s momentum starts to lose steam around the 90-minute mark, and there are too many kooky concepts left frustratingly unexplored. But as a showcase for Snyder’s deft command of action and ink-black sense of humor, Army of the Dead is an exciting piece of brain-chewing fun.

Boyle and Garland’s return to the franchise seems deliberately set on reinventing as many cliches as it can, while also exploding our assumptions about what a zombie movie might be. Make it to the end, and you’ll either be annoyed at its more over-the-top touches or delighted by the final bizarre moments. No matter what, you won’t be bored.

This strange and anxious mixture of the Working Women comedies of yesteryear (think: 9 to 5, Baby Boom, and Working Girl) with the cramped hospital horror shows of our Saturday night sleepovers (recall: Visiting Hours, Halloween II, and Dream Warriors) is always compelling, always nerve-wracking, mostly funny, and agreeably gross.

Lemon remains wholly original throughout, rendering old themes fresh with its bold perspective. It’s also incredibly funny, even when it’s dunking our heads into the darkness of the human psyche.

But there’s something surprising about its approach to both blockbuster filmmaking and Ryan Reynolds star vehicles. It’s at once a Deadpool riff and the absolute opposite, a violent video game movie that’s about how fighting isn’t actually the answer. And what’s more, it commits to those lofty aspirations, couching a sweet little love story in the CG-addled mayhem of a Ryan Reynolds action-adventure flick.

There just isn’t enough clarity to properly gauge what Passing is trying to say and who it’s for beyond the dazzling portraits and memorable performances.

Given the sheer volume of jokes on hand, it’s impressive how often LEGO Batman successfully lands its punchlines.

The superficial thrills of the genre are all present and adoringly rendered, but the actual purpose of the whole exercise is much harder to discern.

The film is certainly worthy of a legendary metal band like Slayer. The inclusion of Live at the Forum makes the package even sweeter, documenting the band’s latter era as they approach the end of their touring career. Thanks to Johnson and Isham, the band finally has the proper visual supplement they deserve.

Raiders!, as a documentary, is much like Zala and Strompolos’ film in that it’s rough around the edges at points, but so utterly sincere that it’s hard to deny after a while.

If Lightyear is a spaceship heading to infinity and beyond, it's a little bit stuck in its own solar system for now — but that doesn't mean it's not worth the ride.

It’s a very good op-ed in favor of America’s ability to live up to its potential and build itself into a country that actually represents the idea of liberty and equality that it’s espoused for so long. Thanks to the humor with which it’s presented, it’s also a pretty decent testament to the potential future of the country’s satire.

Upgrade’s sheer energy and the strength of its concept do more than enough to elevate this revenge picture into something refreshing and eminently watchable.

Another Evil may be a cheap thrill, but it has a unique take on the haunted house genre. Here’s a curious horror comedy that gets richer with every unexpected minute.

While the charm of Always Be My Maybe can and should be attributed to its performers, there’s a real sweetness in its reframing of the romantic comedy as the struggle of two people who already have fulfilling lives, attempting to add to them by rediscovering lost pieces of themselves in each other.

Much of Family‘s humor comes from the juxtaposition of Kate and Maddie’s bonding with moments of pitch-black selfishness.

Deadpool & Wolverine is serviceable in its worst moments and a lot of fun when it's really cooking. Yet if your expectations for Deadpool & Wolverine include a clean explanation of where the Marvel multiverse stands following the Disney/Fox merger (and other related deals), perhaps lower them.

There’s a lot to be said for a movie that knows exactly what it wants to be and hits that exact mark; it’s not that The Instigators lacks ambition, but like its characters, it doesn’t dream too big. It shows up to do its job — finding the fun.

The results are deliciously off-kilter, even if the sci-fi world Stearns has created is somewhat clumsily reverse-engineered to make his central premise possible.

It might not become anyone’s favorite Spielberg flick, but it will certainly stick with you long after you watch it.

When you’re not shaking your head at Theron’s glass-crunching gymnastics, you’re probably soaking up Leitch’s emerald-lensed atmospheres, Luhrmann-esque set pieces, and the sensual lighting that could give Nicolas Winding Refn a seizure or two. That’s all without saying a single thing about its fabulous soundtrack.

Narratively, the Zellners are always looking to zag, and while that leads to some surprising passages, not all of them are safe. Instead, they often spill into dead ends, forcing them to backtrack and carry on elsewhere.

While the film’s final thesis is a Facebook post with typos at best (delete your accounts, and so on), Niccol is still terrific when he’s breaking down rules, questioning protocol, and testing new ideas.

The original cast brings plenty of spark, with Ryder ably carrying the film’s emotional arc and Keaton glorying in getting to be this goofy.

The surface-level delights are pretty damn delightful, as is Waititi's ability to just let things be strange for no clear reason other than, well, it's fun or cool or hilarious.

By simply putting forth Emma as is, with little argument or persuasion in either direction, de Wilde takes Austen’s long-storied notion that her protagonist is “a heroine whom no one but myself will much like” and antes up, highlighting the tarnished parts, the Emma Woodhouses if you will, in us all.

Despite its considerable charms, Ant-Man and the Wasp is decidedly not a must-see event. In fact, it sometimes feels less like a movie than an episode of an ongoing superhero TV series. But it’s a really, really good episode of that series. And it’s the perfect antidote for the gravity of Infinity War.