Fyre delivers greatly on the delight in the misfortune of the wealthy and the shallow that we all expect and crave, but it also smartly doesn't hang its hat on it. It's mostly about the actual well-intentioned people involved in this fiasco and how anyone can be suckered into a vision or dream when no one in a collective is willing to speak out as a lone voice of reason.

The French Dispatch is both an ode to print journalism and one of Wes Anderson’s most richly detailed films.

Benedetta is led by a wildly fun performance from Virginie Efira as a real-life 17th century lesbian nun. Equal parts funny, sensual and incendiary, it’s a committed work from director Paul Verhoeven — a master of tonal balance — even if its exploration of the war between body and spirit occasionally falls short.

A Wounded Fawn is an artfully chaotic descent into bloodlust, monstrous misogyny, and euphoric comeuppances of the most punishing pleasures.

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.

It’s a beautifully animated film that never loses sight of its goals as it seamlessly blends goofy humor and action, an imaginative setting, and powerful emotional moments to produce a memorable and highly relevant family film.

Who wants to go to a deserted island and watch Sam Raimi put Rachel McAdams and Dylan O’Brien through hell? Everybody? Great! Send Help is for you.

Belfast is a love letter to both a city, and the ghosts of Kenneth Branagh’s past. There’s clearly soul-searching going on as he re-examines events from his childhood, and how they affected those he loved, and the decisions they made.

Civil War delivers a challenging, thrilling, heart-pounding movie about the importance of journalism in times of conflict, about how easily we become desensitized to violence when we’re living through it.

An obvious codependency metaphor becomes a body-horror blast in Michael Shanks’ Together.

When Evil Lurks is a capital “H” horror film that risks it all and hits the jackpot, pummeling its audience into submissions and still leaving us asking for more.

The Bob’s Burgers Movie is a glorified episode of the series, but that’s hardly a bad thing.

There’s plenty to flinch (or even gag) at when directors Danny and Michael Philippou spill some blood , and Sally Hawkins and young Jonah Wren Phillips commit to the intensity of their roles, but the decidedly unanswered questions posed by the plot contribute to some dissatisfaction

The story of a small-town girl falling for a career criminal and going on a cross-country crime spree with him is one we’ve certainly seen before, but Carolina Caroline provides its own spin on the subject that makes it well worth checking out.

A House of Dynamite has the acting and directing goods, but its weak resolve arrives late in the game.

Co-writer/director Julia Ducournau delivers a superb sophomore effort, which surpasses her cannibal horror-comedy Raw in provocative content and twisted laughs. Newcomer Agathe Rousselle is an extraordinary find, hurling herself face-first into grisly violence, lusty dances, and nerve-rattling emotional terrain.

Top to bottom, Frozen is a delight. The writing is witty, the voicing is excellent, the story is nuanced and the songs are some of the best since Beauty and the Beast. It's a throwback to a wondrous time in Disney animation, and just a ton of fun.

Hatching is a scattered body-horror romp with the best child performance this year.

They Cloned Tyrone is a comical mash-up of genres that pays homage to 1970’s Blaxploitation. It features a strong cast, an engaging premise, and a stylish aesthetic that sets it apart from similar films.

Thoughtfully conceived and brilliantly acted, it’s one of the most bleakly funny films to come out this year.

Raya and the Last Dragon is a beautifully animated, action-packed hero’s journey, and a great next evolution of Disney’s modern-day princess films.

Even if I don’t agree with the answers Disclosure Day provides to its more interesting questions, it’s a movie I’m still thinking about long after I left the theater.

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.

My Old Ass is a sweet, hilarious coming-of-age story anchored by Aubrey Plaza and Maisy Stella’s excellent comedic and emotional chemistry.

The film is a beautiful work of art to look at with some scenes that you just want to pull off the screen and have framed on your wall. Its use of color, character designs, and subtle CGI combine to create one of the best-looking traditionally animated films ever made.

The fourth (and hopefully final, for the sake of its cast) Jackass is a nostalgic laugh riot.

A lush, richly conceived cannibal road-trip romance, Luca Guadagnino’s Bones and All lives in the intimate space between love and self-hatred, with characters who connect over their shared hunger for human flesh.

Dune is a gorgeous but imperfect epic, a technical wonder that spends too much time setting up a third act that never comes.