Neil Marshall’s Hellboy is a monster mash, loud and proud. Just bring a mop.

According to Martin, the reason she wanted to make Little was that she so rarely saw people like herself on the screen. By that measure, the movie is a success. Fingers crossed for many more films like it in the coming years. And hopefully those movies will have an easier time being just one thing at a time, instead of trying to do everything at once and missing the mark in the way Little ultimately does.

Running the gamut from grotesque to goofy to genuinely scary, Alison Klayman has assembled a compelling and tight look into the inner workings of modern politics in the Trumpian key.

It’s certainly the most youth-friendly and playful blockbuster superhero flick to come along in some time, a saccharine but winsome lark that also works in some heartwarming messages about the need to accept love from other people. Also, Zachary Levi flosses in a superhero costume, so that’s fun too.

Sunset is difficult filmmaking, the kind which almost seems impenetrable at times. But if you’re willing to meet Nemes on his level, the film’s rich textures will eventually prove themselves beguiling.

Its characters are thinly written, its antagonist is one-note, and its clumsy third-act action climax is wholly perfunctory. Yet despite all that, Dumbo still manages to offer the sweeping old-fashioned magic of an earnest family blockbuster.

While treating entrepreneurism like a classic Greek tragedy isn’t a bad idea in theory, Nguyen’s script is more than a little clunky, and the imagery nakedly self-serving. It’s a film about two people digging a hole so they can make ten more dollars per transaction, no matter how handsomely it’s presented.

Its lack of energy, depth, and pure volume are, at the movie’s best, sanitized. Despite the long wait, The Dirt is nothing more than karaöke Crüe.

It’s a valid mission, one supposes, but rendering Bonnie, Clyde, and their cultural impact in such a one-dimensional fashion doesn’t add weight to its subjects. It only serves to strip dimension away from their own story.

The Inventor: Out for Blood in Silicon Valley offers tidy, compelling, and continued proof of Gibney’s skills in the art of delineation.

Although the changes to the source material are guaranteed to polarize some Stephen King fans, Pet Sematary bucks the remake trap of simply paying homage to an iconic piece of horror. Instead, it makes drastic changes to the plot so it can ultimately go more complex with its themes. That’s a hell of a trick to pull off. Sometimes, different is better.

The Day Shall Come remains a riveting watch, though, if only for Morris’ deft, lightning-fast pace and the cast’s mastery of his language. ... The problem is that the film’s humanity is often eclipsed by its big-picture message and satirical edge.

Even if the rapid-fire pace of the jokes keeps a tiny handful of them from landing, the film gets bonus points for not being afraid to get emotional.

Simply put, Elle Fanning is Teen Spirit. This is a performance piece, nothing more and nothing less, and those invested in seeing Fanning soar in her career have every reason to watch.

A singular work, brimming with ideas, by a budding visionary with a hell of a lot to say.

Unsurprisingly, Everybody’s Everything feels most conventional during its talking-head interviews, an aesthetic shared with almost every other music documentary out there. ... But when the film shows rather than telling, it’s clear that there are no easy answers for this kind of tragedy.

While one wishes the beats were a touch more oiled, the film’s strengths reside outside the confines of narrative.

It’s easy to get swept up in Booksmart‘s pace and pleasures, but take a breath and you might find yourself longing for a world that’s at least a touch more familiar.

Patient, meditative, and sanguine, Adopt a Highway is a rugged slice of Americana.

Little Monsters oozes with heart and soul, making for an ultra likable, last-minute addition to a genre that should be buried 12-feet under in the near future.

Perry’s kinetic style and Moss’ explosive performance transform it into something that feels more authentic than actual history.

Moondog’s antics aren’t all that funny or captivating, even when divorced from their assholery.

Long Shot is a major win for Levine, Rogen, and Theron, who defied the odds to deliver an instantly re-watchable hit. It’s sexy, it’s funny, it’s smart, it’s topical, and, above all, it’s exactly what some people need right now.

Exciting? Sure. Unique? Without a doubt. But it’s hard to not feel frustrated by a script that never seems to figure out what it’s trying to say.

After similarly sumptuous but somewhat tragic films like A Fantastic Woman and Disobedience, Gloria Bell feels more life-affirming, more explicitly comic. In many respects it’s a beat-for-beat remake of Gloria, with only a few cultural details swapped out, but the tale translates quite well.

To commend The Boy Who Harnessed the Wind is reasonably easy. Here’s a film that’s pro-science, and sheds new light on a world that Western audiences don’t normally see. But it’s all so dramatically meager and obvious as well.

Apollo 11 is a great documentary, and its greatness can largely be attributed to the stunning archival scenes compiled within it. It’s impossible for anybody who wasn’t there to truly understand what it felt like to see Apollo 11 complete its travels, but for at least 93 endlessly arresting minutes, Apollo 11 does its very best to put you right there.

There are touches of the freshness that percolated through Black Panther and Thor: Ragnarok, two films that brought new points of view, loads of promise, and no small amount of political and social resonance to the MCU, but only a little of the sense of newness and boldness that Ryan Coogler and Taika Waititi’s films had in abundance.