It's a melting pot of experiences from comical to romantic to thrilling to richly ruminative. Everything flows together gracefully in step through a delicate and beautiful dance that speaks to the ever-changing beast that is New York City.

Kane Parsons blends superb visuals and excellent characterization with the lore of the Backrooms to create a terrifying and thrilling big-screen debut for the liminal horror classic.

Baltasar Kormákur delivers a compelling survival thriller with both Charlize Theron and Taron Egerton throwing themselves into their adversarial roles. Theron crafts a relatable and grounded performance bolstered with emotional sensitivity and physical prowess, while Taron Egerton proves his worth as a weirdly menacing antagonist. Immersively conceived and nerve-rackingly realized, Apex is a visually-commanding action film bursting with impressively dynamic stunt sequences.

Though mostly played straight, Faces of Death has a wicked sense of humor that’s used in a commendable manner. It’s not overplayed, but always lurking under the surface, and it provides some of that aforementioned twisted fun.

The Furious dares any other actioner this year to be as battered, berserk, and certifiably badass.

Wonder Woman is leaps and bounds above the other three entries in the DCEU. With a dramatic setting, a few entertaining action scenes, and a strong supporting cast all working together to tell an inspirational Hero’s Journey, it more than offsets some occasionally uneven acting on Gadot’s part and some shaky technical aspects.

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.

It may not be Coppola’s most thought-provoking or emotional outing to date, but it’s a chilling and stunningly well-made one nonetheless.

White Boy Rick is a well-acted but hurried true crime tale.

The Happytime Murders may not be a timeless classic on par with Roger Rabbit, but it’s more interesting and nuanced than its raunchy, violent humor suggests. The puppeteering is fantastic, the characters are interesting, and although the story isn’t ingenious the jokes are usually funny.

Melissa McCarthy gives one of her best performances in a surprisingly relatable story about a criminal misanthrope with a heart beating deep inside her.

Vice is a funny and vicious political commentary, revealing in clear, thrilling detail a man whom filmmaker Adam McKay considers one of the most insidious and dangerous political figures of the last fifty years. But that viciousness also makes Vice one-sided, even reductive.

Netflix's I Am Mother is an engaging sci-fi thriller-meets-coming of age drama, with three strong lead performances.

A fun exercise in giant monster madness that indulges in all the kaiju fights fans and even casual viewers could hope for. It looks amazing while also giving its human characters a chance to stay interesting amid all the battling beasties by providing them with some really cool tech -- and some great one-liners among the supporting players. Unfortunately, the film’s plot is needlessly confusing, and not all that smart at times, and the lead characters could’ve used a little more fleshing out.

While it feels like it could use a more nuanced antagonist and is hit or miss in the comedy realm, there’s a nice sense of closure here, too, which would make this a perfect and redemptive beat to end the story on – both for the characters and the franchise as a whole.

Atomic Blonde is one of the best action films of the year.

Despite the character’s trademark flippancy, there’s a real unexpected warmth to Deadpool 2. Not only does the sequel explore this flawed character, it firmly establishes him as a loveable and effective hero.

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

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.

The respective performances of DiCaprio and Pitt and the film’s meticulous attention to period detail are all great and keep you invested in where this cruise around Tinseltown will ultimately take you.

Fighting With My Family delivers on comedy, action, and a sweet message of acceptance and strength at its core. It might be a bit too wrestling-heavy for some, but the strong cast, interesting real life story, and a magnetic lead mean this black sheep sports story is a feel-good flick with chops that might finally put WWE Studios on the map.

It may not be a great movie, but Timotheé Chalamet delivers a performance so vibrant that it almost rubs off on everything else, and he’s matched in every scene by Steve Carell, Maura Tierney and Amy Ryan.

Cold Pursuit is partly a great action thriller, and Liam Neeson is still kicking plenty of butt, but the film is mostly an intriguing, relaxing, totally tuckered-out character study of old men running out of the energy required to run a criminal enterprise. As thrillers go, this one is more adult than your average.

The Man Who Killed Hitler and Then The Bigfoot lays all its cards on the table up front, but then still manages to never quite be what you expect it to be. It juggles a lot of ostensibly ridiculous ideas, but they all land just right because the film's deliciously dour tone, that sort of snuggles everything within the warm embrace of Sam Elliott's ruggedness and regret.

Netflix’s The Dirt won’t win any awards nor will it inspire any would-be musicians, but it is entertaining and offers up a compelling story about Mötley Crüe. And while it isn’t a completely accurate depiction of the band’s tumultuous career, the film itself is insightful.

In the end this is arguably Jarmusch's first popcorn movie and it's a pretty good one at that.

While the destination is too easy to determine, this ride-along is solidly thrilling.

A goofy, kitschy- but- fun romp and the most purely entertaining of the three Thor movies, marked by its distinctive designs, ‘80s synth score, and assemblage of spirited characters. It’s carried by the excellent chemistry between Thor, Hulk, and Valkyrie, who give humanity to a visual effects-heavy spectacle that finally makes good on Thor’s title of God of Thunder.