It’s not a home run, but it’s an enjoyably goofy and gory time.

The adaptation stumbles in its third act, but before that, Akimoto builds a killer video game-like time loop with striking imagery and a heartfelt depiction of loneliness. The action is tremendous, and the character of Rita provides an excellent viewpoint for watching an alien attack play out over and over again.

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

Jung’s The Villainess offers enough action to make up for the otherwise confusing complexity of its storytelling.

The script – which revolves around a serial killer and explores the idea of traumas both mental and physical – isn't particularly strong, but the direction is, as always, first-rate.

Gladiator II finds strength and honor in the well-worn armor of its predecessor. Paul Mescal is adept in the belabored-hero role, going toe-to-toe with not only the delightfully deranged Joseph Quinn and Fred Hechinger, but also with Denzel Washington, whose mercurial Macrinus practically screams “ARE YOU NOT ENTERTAINED” at the audience every second he’s onscreen.

Yes, it’s gruesome and violent, but it’s also wickedly funny and surprisingly poignant. And while those Keanu comparisons are always going to be there, Nobody easily holds a candle to Wick.

Yorgos Lanthimos returns to his days of nasty absurdism, with three vicious, amusing stories about love and obsession. The recurring ensemble, led by Emma Stone and Jesse Plemmons, delivers a showcase of versatility in which they meet the director on his peculiar wavelength, leading to nearly 3 hours of unsettling fun.

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.

If you love Christmas movies, and especially if you have some young family members you wish to share your holiday with, you can't go wrong with The Muppet Christmas Carol.

If The Lodge had focused as much on its three leads as it did on building a creepy atmosphere to put them in, it may have been as terrorizing an experience as it aspired to be.

Outside of watching modern Trump characteristics being absorbed from the worst influences around him, it rarely has the insight you’d hope for from a biopic centered on one of the defining political figures of the 21st century.

Greyhound has occasional bursts of violent excitement but it's overall lack of engaging characters, the unappetizing CG, and the lackluster story make for a very color-by-numbers outing from a headlining star capable of a whole lot more.

The Bad Guys is a fun, family-friendly caper that’s bursting with action and brimming with laughs.

Synchronic isn't a home run, but a decent time travel triple is always welcome.

While it may be light on logic and effects, it’s still a lovely story about being yourself, no matter what anyone thinks.

Anna and the Apocalypse is a delightful Christmas/horror/comedy/musical hybrid, with a great cast, entertaining gore and a storyline that’s easy to take seriously… even though it’s fundamentally absurd.

Godzilla and Rogue One director Gareth Edwards returns with an original (albeit derivative) science fiction vision: the story of a future war between man and machine, as told through the bond that develops between, well, a man and a child-sized machine. As pure spectacle, The Creator is often jaw-dropping in its imagery, its relatively frugal special effects, and the detailed depth of its futuristic design. It's shakier as drama and sci-fi – and in its sentimental depiction of synthetic humans just trying to live their synthetic lives, a bit out of step with the anxieties of our increasingly AI-dominated age.

Michael Douglas and Kathleen Turner are wonderful together. They look great when they're in bed together and they look even better when they're fighting. Throw Danny DeVito into the mix and you've got a very enjoyable, watchable trio of heroes.

Its efforts at social commentary mostly fall flat, but its thrilling moments and Gyllenhaal’s intense performance largely make up for that.

Director Lee Haven Jones elevates this ripe premise with a masterful use of color and a garnish of gore. This makes for a feast of the eyes, bursting with visuals gorgeous and gruesome. Tied together with a surreal tone and topped off with a generous sprinkling of carnage, The Feast serves up a heady and haunting experience that sticks to your ribs and rattles your nerves.

Hold the Dark is a beautiful-looking bore.

While its flaws are rooted in what it avoids, its marriage of topic and form yields a blast of positivity in a way that perfectly suits its withholding subject, granting his interviews the kind of depth and creativity embodied by his music. While it avoids all thorny entanglements, it looks good and feels great, like any LEGO movie should.

With heavy inspirations from games like Dead Space and movies like Alien and The Thing, Flying Lotus' Ash is an ambitious, visually enthralling sci-fi horror movie. But its tale of a space station terrorized by a mysterious, gooey threat is otherwise empty and derivative, and takes too long to get going.

The Covenant isn’t Guy Ritchie’s best, but standout performances from Jake Gyllenhaal and Dar Salim as bonded heroes save an otherwise bloated military thriller.

Downton Abbey: A New Era starts out as a wistful return to the familiar before shedding its skin and letting the series’ nauseating ugliness come frothing to the surface. It goes from funny and charming to jaw-droppingly grim at the drop of a hat — a wild tonal whiplash that’s absolutely worth a watch. It’s a concentrated dose of Downton Abbey.

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

Ultimately, Lupin III: The First plays it safe. While the film adds a new visual kick, there’s not a whole lot in the way of storytelling innovation. But maybe we don’t need it.