With Private Resort, I guarantee you'll be laughing well after it ends - and if you do it right, your chuckles will probably have precious little to do with the film itself.

The Sisters Brothers is almost as aimless as its title characters, but it's worth the journey. John C. Reilly and Joaquin Phoenix shine as wild west hitmen who are just smart enough to know they should be smarter, whose quest leads them in unexpected, funny, and surprisingly emotional directions.

While some purists may balk at the changes and omissions made here, those simply looking for a horror movie as compelling as it is wicked should enjoy this new Pet Sematary.

Lee Marvin and Charles Bronson in the same picture. How much more bad-assedness do you need?

The movie has a much more open feel than Argento's other films and offers an interesting counter point to his work. The film also exercises Argento's effects work. There are several great scenes where a swarm of flies comes to Jennifer's rescue.

In what could be the one of the best opening movie scenes I've ever seen, for example, Kermit, Fozzie and Gonzo hover next to the opening credits in a hot air balloon, wondering how soon they will finish.

It’s not simply cashing in on the popularity of the TMNT cartoon, but is actually a thoughtful, emotional, and challenging movie about the loss and reconstruction of family. It’s got lots of hilarious one-liners and ninja action too, making it one of the most well-rounded comic book movies that’s not afraid to hold reverence to the source material while also having some fun with it.

Jungle Cruise is a rollicking adventure full of humor and heart anchored by Dwayne Johnson and Emily Blunt's winning heroes.

It may not be the most accurate, well produced, or entirely awe-inspiring film adaptation of the caped crusader, but it is certainly the most amusing.

The classic humor of this film still remains.

What was boring and dull to our 12-year-old selves back when Dad was watching this film 25 years ago is now a thoroughly engrossing and satisfying film experience, and a reminder that what is old can be new again -- whether it's Newman's Galvin's outlook on life, an old courtroom drama premise, or a movie revisited after a quarter century lapse.

Director John Krasinski delivers that rare horror sequel that (almost) stands toe-to-toe with its predecessor.

Successfully walking the line between sharp comedy and thoughtful dramedy, Instant Family delivers, warming the heart and generating plenty of belly laughs. When it’s funny, as it often is, it’s damn funny. One of the superior comedies of the year, it’s not a classic, but it’s rich, smart and emotionally satisfying and an accomplished step forward for director Sean Anders.

Where its successors might interpret or imitate its achievement of making a movie set in a confined space, Hitchcock evokes more important questions - many of them without answers - from his cross-section of characters, and creates an impressive and remarkably prescient perspective on our relationship with the world around us.

The fun and frightful Scary Stories to Tell in The Dark will introduce a new generation to the joy of being scared.

Birds of Prey is a madcap joyride that puts Harley in the driver's seat, but sometimes leaves her cohorts in the dust.

The Clovehitch Killer is a truly scary and surprisingly thoughtful flick which transcends the trappings of its genre roots with sterling direction and a minimalistic approach to horror.

Anchored by first-rate storytelling, Missing Link is another jewel in the crown for Laika that leaves you satisfied and still ready for more.

Strip away the rich scenery, catchy tunes and now familiar, beloved characters and Pinocchio amounts to little more than a series of awkwardly strung-together morality tales. It's likely that young viewers just discovering this film for the first time won't notice or care, but as adults considering where the film stands among the great animated classics, it's fair to say this still a masterpiece, albeit an imperfect one.

Though it may not add up to more than the sum of its parts, animation fans have come to appreciate Alice in Wonderland over the years for the care and effort put into it, despite its flaws.

Cam is an authentic, unexpected, and thrilling addition to modern horror canon.... It's a unique experiment, one that works incredibly well and benefits greatly from Mazzei's voice and Goldhaber's thoughtful direction.

Many smaller details also hit home, and though it certainly is exaggerated all over the place, the film is dead on and plays even better now than in '92.

Netflix's uneven animated Godzilla saga receives an emotionally satisfying conclusion in The Planet Eater.

Watching real planes crashing into real planes on a runway is flatout exciting, and the bombing sequence here is easily the equal of anything that Michael Bay could do.

Deftly filmed and edited, Run is undoubtedly effective on the small screen, but few other films this year have built and held tension this expertly, so as to be immediately worthy of a room full of people reacting in unison.

Whatever lies in store for the future of Mission: Impossible, McQuarrie’s third outing as director proves that he still has an ingenious bag of tricks to pull from, having departed from the gloom and doom of Fallout to create an explosive yet self-reflexive action saga that leaves you wanting more.

Yesterday doesn’t take too many chances, but it does boast a well-told story with a cast that’s game for both its comedic and more dramatic moments.

I Want to Eat Your Pancreas is a beautiful and moving exploration of what it means to truly live.