Terminal is an interesting revenge story that mostly works. There are a few missteps, namely a few wasted characters and a straight forward plot made needlessly complicated. Still, Vaughn Stein should be pleased with what’s here.

Even with a strong cast led by Clive Owen and Amanda Seyfried, Netflix's Anon struggles to tell an engaging story.

The cast does the best they can to save the weak material, and it’s interesting to see how the filmmakers are trying to make this off-putting concept work. But it's not funny enough, or even weird enough, to get away with it.

As usual, Adam Sandler presents a mean-spirited comedy, but an unengaged cast and uninspired writing also make The Week Of a bore.

Using the strength of its powerful and interesting villain to set the stakes higher than ever, Avengers: Infinity War successfully brings together the past 10 years of Marvel movies into a largely effective cocktail of super-heroic dramatics.

Although inspired by an interesting post-modern true crime story, and featuring an unexpectedly depressive performance from Jim Carrey, Dark Crimes is a dull, dark, depressing film with very little on its mind.

Meow, it may feel familiar, but that doesn’t mean you won’t have fun along the way with Super Troopers 2.

Blumhouse’s Truth or Dare is what happens when high concepts crash. The audience is here to watch people play a deadly game of Truth or Dare, and yet the film’s truths and dares are unremarkable, and the players are mostly boring.

Rampage doesn’t really offer much of anything new as a giant monster movie, a video game adaptation, or a Dwayne Johnson vehicle, but it still checks all the boxes expected from it, offering one just enough entertainment value to not make you completely hate it.

When is a murder mystery not about the murder or the mystery? When it's as beautiful-looking as Gemini.

At its worst, First Match is a gripping drama centered on the relationship between a teen and her estranged father. At its best, it’s an emotional ride with a soul. Its inevitable praise is a testament to the powerful performances therein.

This is a film about pain, and it forces the audience to live in and work through that pain. And it’s absolutely worth the effort. By the end it’s a transformative experience.

Taylor Schilling does her best here to keep things alive and afloat but The Titan insists on languishing in unremarkable material way too long.

Unsane is a creepy little thriller, with a concept that could terrify just about anybody, and a plot that wobbles but ultimately stays on the rails. Claire Foy gives a standout performance and Steven Soderbergh’s intimate visual style sells the idea that we are watching something horribly sinister get revealed.

Not as annoying as it looks, but hardly a stirring or imaginative entertainment, Sherlock Gnomes has a comfortable home right in the middle of the road.

Game Over, Man! is a sloppy production, with screaming and bullying used as a placeholder for actual jokes. The characters are such enormous jerks that they probably don’t deserve to succeed, at anything, so it’s hard to want to follow their adventures through an entire film.

One of Wes Anderson’s best movies, an imaginative and amusing travelogue through incredible settings, populated by wonderful characters, with a lot of heart and even a little insight. You can feel the love radiating off of this movie, like a hug from your own beloved pet.

Pacific Rim Uprising is a loyal, if unremarkable, successor to the giddy original.

Tomb Raider fails to develop interesting characters or motives but at least offers viewers some fun action.

Everything in Ready Player One ties together into an action-packed, upbeat, hero’s journey that keeps the film moving along at a thrilling pace. While it’s not particularly emotional and I was disappointed by how many questions are left open by its shallow visits to the real world, it’s still a lot of fun.

While Blockers treads some familiar territory in its sex pact escapades, and occasionally buckles under the weight of its escalating insanity, its fresh perspective and stellar casting ensure a coming-of-age comedy that adds something vital to the genre.

It'll probably remind you of Jurassic Park mixed with Cloverfield, plus a dash of Aliens and a pinch of Buffy's "Hush," but between its unique approach and gleeful desire to shock you, you can't really be mad at it.

It’s neither funny nor exciting enough to obscure what a miasma of unfocused randomness it is, even though the cast is clearly trying to make something out of all this half-baked material.

Skillfully made, spooky, stylish, and featuring some quite good character work, The Strangers: Prey at Night stands much taller than the 2008 original. The central killers are plenty scary, and some of the images on display would make John Carpenter proud.

It takes extremely familiar plot points and plays them straight, adding nothing new except the premise - a white American joining the Yakuza - which ultimately has very little to do with how the story unfolds. The film might be a functional crime drama but it’s an incredibly unremarkable one.

A Wrinkle in Time is ambitious, hopeful, and imaginative, but it’s also messy, overwrought, and oddly paced.

While there are flaws galore in this live-action movie version, you get a sense that the director has a real love for the original source material. The color schemes and costumes have exactly the right hues and texture, and the ambiance is engaging overall.

While not exactly transcending the familiarity of its very predictable genre, The Ritual is a spooky, shadowy horror film with good character work, an excellent mood, some provocative themes, excellent lighting, and a scary... thing... that horror fans will love.

Death Wish takes the serious topic of vigilante violence and reduces it to melodramatic hero worship, and it’s not even particularly good at that. The action is forgettable and the plot barely holds together.

Red Sparrow is too disturbing and brutal to be popcorn entertainment, and by trying to make the uncomfortable storylines and interminable torture sequences palatable for the audience, it completely undermines its ability to operate as a serious drama.

Mute tries to tell a transformative sci-fi story but struggles to find its footing with a less than stellar hero.

It takes real intelligence to make the best dumb jokes. Game Night has plenty of both, combining skilled filmmaking and ridiculous gags in equal measure, and letting the seriousness and silliness play off of each other for maximum effect.

Annihilation isn’t always as consistently well-executed or involving as it might have been, and it’s told in a manner that robs the story of some much needed life-or-death suspense, but overall it’s a bold undertaking that doesn’t play it safe and features some strong performances.

Fifty Shades Freed concludes the trilogy as it began, with a romance you can’t believe in, endless montages of affluence, lousy dialogue, weak plotting, and - admittedly - a heck of a lot of sex.

One of the worst, most inexcusably poor movies Clint Eastwood has turned out in his career behind the camera and a possible contender for one of the worst films of the year. The 15:17 to Paris is so bad in so many ways that it’s impossible to recommend and that’s a crying shame.

Black Panther delivers the goods as an adventure film, a political statement, and a cultural celebration. It shakes off a sluggish start thanks to a memorable cast of characters going up against Marvel’s best-realized villain in almost a decade.

The Cloverfield Paradox is a paradox in itself. Split between trying to be a standalone sci-fi space horror and a key linking point in the Cloverfield mythos, the film never truly succeeds at either.

The relentlessly slapstick Peter Rabbit may please the kids, but the film never quite realizes its full potential.

You won't lose yourself in this haunted house, even though that was supposed to be the whole point. A film about a labyrinth filled with ghosts quickly becomes methodical and familiar, stranding a great cast in an inert supernatural thriller.

Even though the use of one particular plot device ends up feeling unnecessary and Will Forte can often appear miscast in the lead role, A Futile and Stupid Gesture still conjures up enough real emotions and inventive moments to feel like a worthwhile addition to Hollywood’s often tired biopic subgenre.

With a sensitive ear for the experiences of its friendly subject, and nothing but sympathy for what he says, Love and Saucers paints a fascinating portrait of a talented and unique person.

While hardly high cinema, Kickboxer: Retaliation is an enjoyable fight epic with some awesome fighting, great cameos, and hugely impressive stunts.

The familiar story and underdeveloped characters aren't nearly as magical as the animation, but there's still a lot to enjoy in Mary and the Witch's Flower, even if it's not Hiromasa Yonebayashi's best.

Clichés combined with poor dialogue and badly drawn characters that lack dimension bog down the heist movie Den of Thieves, which fails to sustain, or generate, any real tension.

It’s a shame that The Maze Runner movies are going out on their flattest note, but The Death Cure isn't completely off-key. Wes Ball has directed every entry in the franchise and he’s evolved into a very skilled action filmmaker. Complex set-pieces with an incredible number of moving parts are depicted clearly, excitingly, and with visual panache.

When it works, it's engaging and there’s just enough to keep you entertained but you can’t help feel the heroes deserve something meatier.

Early Man lacks the warmth and wit of Aardman's best clay creations.

Although Taraji P. Henson is always a delight, a rote plot, bland action, and a serious lack of interpersonal chemistry hamstrings any potential Proud Mary might have at being fun.

Liam Neeson is back with The Commuter, though viewers may wind up wishing they bought a ticket to a different train.

Insidious: The Last Key may be somewhat engaging but it’s also sloppy and doesn’t amount to much.

Saoirse Ronan gives a standout, brilliant performance and so does Laurie Metcalf as her long-suffering, big-hearted mother. It’s a remarkable solo directorial debut from Greta Gerwig.

Paddington 2 goes all in on the charm and wit established in the first film and comes up with yet another winner.

You'll certainly find better alien mayhem films than Beyond Skyline, but some creative special effects, interesting fights, and fun, alien brain-sucking will keep you moderately – but solidly – entertained.

With a funny set of side characters and a lovably kindhearted lead, Ferdinand finds a way to promote being kind to others without becoming an afterschool special. Granted, it doesn’t ever go out of its way to be very unique or surprising, but for what it sets out to do, Ferdinand is altogether successful. Even if that means it doesn’t end up being much more that.

At its best, All the Money in the World is a rich and exciting story about a woman trapped in a universe of apathetic and powerful men, fighting her way out any which way she can. At its worst it’s a well-shot but ultimately middling thriller.

The Greatest Showman is wildly entertaining even when it’s spectacularly false, which is a lot of the time. But everyone is enjoying themselves on-screen, so you might as well enjoy yourself too.

Scott Cooper directs Hostiles with an eye for quote-unquote “greatness” but the actual material simply isn’t deep enough to justify the solemn presentation. It’s not entertaining, it’s not illuminating, it’s not even complicated. It’s mostly just a bummer.

Father Figures is a baffling film, one that never seems to ever get a handle on what it is or what it wants to be. It’s one thing to make a movie about characters stuck in arrested development, unsure of where they’re going, but it’s another for the writing and editing to also feel that way. In short, Father Figures is just a straight-up mess.

Bright could have been something truly special if it had slowed down the pace of its narrative to allow for a fuller exploration of its engaging world.

It’s not very funny, it’s not very dramatic. There’s a spark of intelligence here, a valid critique of doomsday culture and escapism, but it’s the sort of message you can easily get off of a cocktail napkin.

Pitch Perfect 3 tears up the rule book for the franchise but sadly all the rules in it are what made the original work so well and the second film work well enough.

Star Wars: The Last Jedi is the quintessential Star Wars movie. It embraces everything in the franchise that came before while taking big risks to push the story into new and unexpected places.

Jumanji: Welcome to the Jungle brings audiences back to its classic fictional world with a fun, updated new twist on its well-worn story. So even if some of its subplots and emotional throughlines don’t quite click, the action-packed fun and humor should still make it worth your price of admission.

I, Tonya is a fairly conventional biopic of the scandalized sports star, but one buoyed by Margot Robbie's performance.

Gorgeous and unpredictable, and maybe a little indulgent, Phantom Thread is another fascinating drama from Paul Thomas Anderson, with captivating lead performances by Daniel Day-Lewis and Vicky Krieps.

Steven Spielberg tells an intimate story through extravagant storytelling, giving audiences an intensely relevant historical drama, and giving Meryl Streep one of her most nuanced roles in years.

Guillermo del Toro’s engrossing fairy tale The Shape of Water offers so much to be enamored of in terms of performance, execution and design that it’s disappointing when its story veers into formula.

Coco wonderfully explores familial themes, identity, and learning what it means to grow up in a world that isn’t perfect.

Molly’s Game doesn’t announce Aaron Sorkin as the next great filmmaker, but he’s a good one. It’s a competently filmed production with some fine performances, but it lacks the focus and showpersonship that would be necessary to make it feel like more.

Gary Oldman gives an impeccable performance as Winston Churchill in a gorgeously photographed, suspenseful World War II film that suffers from too much hero worship.

The Disaster Artist is a hilarious and heart-wrenching ode to outsider art, with a baffling story that would be impossible to believe if it weren’t apparently true. James Franco directs the film with sensitivity and painstaking detail, and gives a fantastic performance as one of the worst filmmakers - and one of the most unusual human beings - ever.

Featuring several stunning performances by its stars, with Jacob Tremblay shining brightest of them all, Wonder ends up being a much better and wiser film than its trailers or premise let on.

Mudbound is a daring approach to a classical narrative, a film that tries to look from multiple perspectives at an intimate human drama that has far-reaching ramifications. Its imperfections are debatable, and fairly minor. It is the work of a bold storyteller working at the top of her game.

Call Me By Your Name is a romanticized coming of age film, for better and worse. It’s a lovely place to visit but not particularly absorbing as a narrative, even though Armie Hammer gives an impressive performance.

If you can get past the many bizarre inconsistencies, The Star is a relatively decent film for young Christian audiences. The writing, voice-acting and animation are unremarkable, but they get the job done, and the film’s heart seems to be in the right place.

It’s messy and flawed but it still offers enough entertainment value (mostly thanks to its likable characters) to make it worthwhile.

Trier manages to make a movie about passion that feels almost completely detached, right to the end. It’s an approach that gives Thelma, the movie, the appearance of portent without fully exploring the fascinating themes, characters or storylines that might actually have justified that self-serious tone.

It’s a classy, riveting remake, and it will make you want to see even more adventures featuring this particular Poirot.

Daddy’s Home 2 seems like just another cookie-cutter comedy, but its heart is in the wrong place. It’s mean-spirited and half-hearted, and more than that… it’s just not funny.

Fiercely intelligent and deeply suspenseful, Roman J. Israel, Esq. is an absorbing morality tale from writer/director Dan Gilroy, and boasts one of Denzel Washington’s finest performances.

It does a great job of chronicling the amazing accomplishments of one of the best fighters in the world, but beyond that, it’s a lukewarm documentary that stays close to the surface.

Unsettlingly intimate, and nearly bursting with dread, My Friend Dahmer is an intriguing biopic about the early life of one of America’s most notorious serial killers, with an extraordinary and breakout per-formance by Ross Lynch at its center.

Takashi Miike’s blood-splattered and emotionally ripping Blade of the Immortal is a terrific samurai thriller.

The Bad Moms sequel suffers from an uneven script and the addition of too many new, superfluous characters.

In its best moments, Suburbicon is the dark, truly funny examination of 1950s suburbia it wants to be. These moments, however, are all too rare and more often than not the story is just a flat Film Noir tale purporting to expose the evil that lurks all around us.

Three Billboards Outside Ebbing, Missouri is Martin McDonagh’s most emotional and profound film to date.

Jigsaw barely feels like a part of the Saw franchise. It has deathtraps, but takes no pleasure in presenting them. It ignores most of the ongoing storyline. If it wasn’t part of the official franchise it would play like a knockoff.

Jungle eventually leads to an exciting survival story with an intense performance by Daniel Radcliffe and suspenseful scenes that might make you squirm. But it might not be worth the journey it takes to get there.

Geostorm is as dumb as you think, but more fun than you might expect.

Amityville: The Awakening has a good cast, and, if viewed by a group of rowdy friends late at night, may certainly do its due diligence in periodically startling you for 87 minutes, but never manages to transcend its genre in any meaningful way.

Noah Baumbach succeeds in The Meyerowitz Stories (New and Selected) in fine fashion, delicately balancing serious issues with lighthearted moments – it is a movie that is equally adept at making the audience cry as it is with making them laugh.

The film's brilliant pacing and expertly woven narrative deliver an empowering story that will stick with you long after the credits roll.

Tokyo Ghoul’s live-action movie gets the basics of the series right but is ultimately a shallow version of its source material.

Wonderstruck is another emotional and visually gorgeous outing from director Todd Haynes.

Director Yorgos Lanthimos lures us into his dream and shackles us there, for his own fascinating reasons. The experience is exquisite agony, both revelatory and painful. This is one of the best and most disturbing movies of the year.

Funny, gut-churning, playful, wicked, and warm, Tragedy Girls is one of the better horror-comedies in recent memory.

A decently made but unsurprising thriller.

Wheelman has a few great action sequences and one interesting idea, but is let down by a mediocre screenplay.