Flamin' Hot is a charming and funny rags-to-riches story with a strong cast, some clever editing, and good use of narration as comedy that make up for its superficial depth.

The Disney+ documentary Stan Lee is a bland work of corporate propaganda that glosses over or outright ignores Marvel’s controversies

If you like the Blaxploitation flicks of the 70s, this is your candy. If you liked Shaft, but thought it was a bit slow, this one has a little more action, and budget, and its logic matches Shaft in Africa (leads come out of nowhere and thugs appear at the unlikeliest of times).

Captain Marvel directors Anna Boden and Ryan Fleck's (sometimes very) fun anthology/love letter to Oakland, California doesn’t add enough of its own unique spirit to quite live up to its influences.

Partially filmed on location in Chicago, the movie benefits from a snowy, urban setting that gives it a very different feel from most films in its genre. Hicks and Chris Sarandon (as the cop who killed serial killer Charles Chucky Lee Ray in the first place) are solid actors and brought a nice adult presence to the story.

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.

Eternity is a bizarre but heartfelt dramedy that balances a wacky vision of the afterlife with strong performances and direction.

All in all, An American Pickle is a solidly entertaining comedy. Its oddball conceit dares audiences to take the plunge, and Seth Rogen rewards them with Herschel, who is bold, thrilling, and a little bit bonkers.

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.

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

The subpar tech-horror film Come Play is as boring as it is painfully outdated.

George Clooney's The Midnight Sky is a gorgeous, glossy doomsday odyssey that feels like too big a winter coat on a small, fragile frame.

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.

Strikes just the right balance between comedy, tragedy, and drama, the result being a very funny WWII film that nevertheless carries an incredibly important message about the here and now.

David Lowery’s latest is a visually fascinating chamber piece with great performances from Anne Hathaway and Michaela Coel.

The‌ Deer King may feel familiar to fans of Studio Ghibli, but it’s made with such dedication to the craft and the story that it results in a brand-new experience full of heart and action.

You may argue whether it’s “good”, but damn it if Sleepaway Camp isn’t a super fun, crazy and, most importantly, an incredibly memorable movie

Does The Man Who Killed Don Quixote live up to the anticipation built by a nearly 30 year-long wait? Probably not. Is it still a film worth seeing, with something to say about following your dreams and being a filmmaker, with meta commentary about its own production? It’s hard not to say yes, if only to witness a man’s decades-long obsession finally bear fruit.

Cry Macho has spare moments of charm and tranquility, but mostly it's a dry and unfinished story that fails to hit even the most basic of Story 101 beats.

Sydney Sweeney blazes trails and pulls no punches in a choppy biopic that falters at the finish.

My Best Friend’s Exorcism is gateway horror that puts storytelling above terror. It’s steady on its 1980s teenage-girl friendship drama, but other elements around the messaging stumble.

It's amusing and enjoyable at the same time, in a wholesome Pleasantville kind of way.

Olivia Colman is a diamond in the rough, but even she can’t rescue a movie this flat and uninteresting.

Jumanji: The Next Level is a blast. Instead of relying solely on its proven premise, we get to know more about the kids and the adults playing the game. There are still moments of silliness, but there is also a whole lot of heart here.

This sequel doesn’t merit a sing-along and does little to expand on what we already knew about Moana and her friends.

Mean Girls is a winning, entertaining reworking of Tina Fey’s 2004 comedy. Featuring a collection of strong original songs and a successful updating of the story and messages, it's a musical reimagining worth watching.

If Licence to Kill added more than just scenes with Q to lighten the load, if it provided a love interest as compelling as Vesper and more engaging than Lowell's whiny Pam Bouvier, this Bond could have been one of the instant greats, instead of one that is better appreciated with age. The movie is not perfect, but a lot of what works now in the series got its start in Dalton's last mission as James Bond.

The Equalizer 3 ends the trilogy strong with a style, energy, and cohesiveness that most sequels aren’t capable of. Fuqua and Washington’s circle feels complete and delivers a showstopping dessert at the end of a solid three-course meal they’ve been preparing for almost a decade.