Dragon Ball Super: Broly delivers in terms of awesome action, but more than that, it uses the fathers of Goku, Vegeta, and Broly to link back to the late-1980s and early-1990s heyday of the series to add a relatable and thoughtful subtext. It’s a humorous movie that bounds into the world of imagination and is gripping to the end.

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.

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

There are hints of greatness, but Glass is tonally confused and will likely disappoint fans of Unbreakable and Split.

With The Birth of a Nation, Nate Parker has shown himself to be a confident, extraordinary filmmaker. He not only gets good performances from his cast, but has created a film that seems sure of itself, one that knows when to lean into depicting hatred, when to lean into depicting love, and when to cut away; when the look on a face is more important than the blood on a back and when it isn't.

Selma pierces a Civil Rights milestone with honesty, avoiding damning accusations or easy schmaltz to reflect true human triumph. With expansive shots of protests in motion and intimate, shadowy close-ups of King locked in jail, DuVernay's direction brings to life what many only know in black-and-white snapshots.

Director Steve McQueen's eye is better than his sense of pacing in the nevertheless devastating drama 12 Years a Slave, featuring a standout performance from Serenity's Chiwetel Ejiofor.

Moonlight is a complex, haunting coming-of-age story unlike anything else this year.

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.

Once Upon a Deadpool is a cute idea that doesn't live up to its potential, leaving audiences with little more than a less interesting version of a better movie they might have loved.

Peter Jackson's technical ambitions sometimes muddy his otherwise moving WWI documentary They Shall Not Grow Old.

If you've ever watched a Saw movie and wished there was no gore and a few more puzzles to solve then you'll likely enjoy this tropey but fun flick.

It's Sandra Bullock and the ensemble that heap some heft into this standard scorched Earth story.

The lazy gags, wasted supporting cast and unfocused writing make the film an unfunny chore, which evokes but doesn't come close to their earlier comedic outings.

Despite the movie showcasing her brilliance and tenacity, at times it's sanitized and schmaltzy, which takes away from the overall impact of the story.

Director Robert Zemeckis hits a new artistic low with Welcome to Marwen, a film that mistakes schmaltz for substance and employs downright boring novelty animation in a hackneyed attempt to stir the emotions.

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.

Barry Jenkins' If Beale Street Could Talk is beaming with style and detail, but at its core, it’s a mindful meditation on human beings seeking the greatest gift we can give each other—love.

Luckily, with a dash of mischief, a dollop of whimsy, and, yes, a hearty spoonful of sugar, Mary Poppins Returns manages to feel less like a cynical cash-grab and more like a visit from an old friend — even if the reality of her reappearance doesn’t quite live up to your fuzzy memories of the good ol’ days.

The glee that director James Wan clearly has playing in the world of Aquaman is infectious. He’s made a movie for both types of 10-year-olds: literal kids and those who are 10 at heart. Aquaman is one hell of a popcorn movie.

The Transformers franchise gets a much needed tuneup in Bumblebee.

It’s intellectually intriguing and well-acted, but the inconsistent visual effects undermine the necessary suspension of disbelief when it comes to mixing live-action humans with talking CG animals in such a serious and somber adaptation of the Kipling classic. Still, it’s a thoughtful and dramatic interpretation, which sets it apart from most incarnations of The Jungle Book.

Spider-Man: Into the Spider-Verse delivers a dynamic visual experience unlike any other.

It’s a straightforward retelling with a confusing design philosophy, disappointing action sequences, weak storytelling and a cast which clearly deserved better material.

Green Book lacks the depth it aspires to, and only works on a very superficial level. Viggo Mortensen and Mahershala Ali give exceptional performances but this message movie fumbles its message.

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.

Creed II, however, can’t seem to let the past go, abandoning the exciting new path blazed by Coogler in favor of evoking what’s come before, with undeniably diminished results.

Widows is so severe and reserved a picture that it never quite works as a thriller, but it’s so mired in conventional thriller storytelling that it never completely works as a serious drama either. But there’s no denying the power of that cast and the particular vision of McQueen, who turns Widows into something truly distinctive… if not necessarily effective.