It’s a brave choice to literally blow up everything that’s come before but one that definitely pays off in Fallen Kingdom. While Jurassic World gave us a lovely self-contained story, Fallen Kingdom leaves us wondering just where the series will go for its third act - as long as Stiggy plays an extensive pivotal role, I’ll be absolutely fine with it.

Action Point contains some crazy stunts and some funny-ish gross-out humor, but is ultimately a pale echo of the dark destruction Johnny Knoxville became famous for.

Upgrade is an intense sci-fi action thriller with big ideas, incredible action and a remarkable lead performance.

Although featuring some good acting, and certainly ambitious in its critique of the characters, American Animals is too sleepy to strike a chord.

Mary Shelley's fascinating life story is told to contain a few brief glimpses of modern insight, but ultimately weakens under its over-use of conventional, romantic storytelling tropes.

Solo may not really develop its title character or justify why it needed to exist, but it still delivers a fun time.

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.

Breaking In is a clever twist not the home invasion genre, with a dynamic lead performance by Gabrielle Union as a mother protecting her family. It’s a crowd-pleasing thriller, good but never quite great, because the story collapses under scrutiny. The film is trying to be clever and yet it relies on big, and obvious gaps in logic, but those flaws probably won't ruin the experience.

The chases and gunfights in Manhunt are impressive and brisk, containing just as much panache as you remember from John Woo films of 20 years ago. The plot, however, is even more old-fashioned, effectively undercutting any drama with a silly cheesiness that may not always work.

Terminal is an interesting revenge story that mostly works. There are a few missteps, namely a few wasted characters and a straight forward plot made needlessly complicated. Still, Vaughn Stein should be pleased with what’s here.

Even with a strong cast led by Clive Owen and Amanda Seyfried, Netflix's Anon struggles to tell an engaging story.

The cast does the best they can to save the weak material, and it’s interesting to see how the filmmakers are trying to make this off-putting concept work. But it's not funny enough, or even weird enough, to get away with it.

As usual, Adam Sandler presents a mean-spirited comedy, but an unengaged cast and uninspired writing also make The Week Of a bore.

Using the strength of its powerful and interesting villain to set the stakes higher than ever, Avengers: Infinity War successfully brings together the past 10 years of Marvel movies into a largely effective cocktail of super-heroic dramatics.

Although inspired by an interesting post-modern true crime story, and featuring an unexpectedly depressive performance from Jim Carrey, Dark Crimes is a dull, dark, depressing film with very little on its mind.

Meow, it may feel familiar, but that doesn’t mean you won’t have fun along the way with Super Troopers 2.

Blumhouse’s Truth or Dare is what happens when high concepts crash. The audience is here to watch people play a deadly game of Truth or Dare, and yet the film’s truths and dares are unremarkable, and the players are mostly boring.

Rampage doesn’t really offer much of anything new as a giant monster movie, a video game adaptation, or a Dwayne Johnson vehicle, but it still checks all the boxes expected from it, offering one just enough entertainment value to not make you completely hate it.

When is a murder mystery not about the murder or the mystery? When it's as beautiful-looking as Gemini.

At its worst, First Match is a gripping drama centered on the relationship between a teen and her estranged father. At its best, it’s an emotional ride with a soul. Its inevitable praise is a testament to the powerful performances therein.

This is a film about pain, and it forces the audience to live in and work through that pain. And it’s absolutely worth the effort. By the end it’s a transformative experience.

Taylor Schilling does her best here to keep things alive and afloat but The Titan insists on languishing in unremarkable material way too long.

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.

Not as annoying as it looks, but hardly a stirring or imaginative entertainment, Sherlock Gnomes has a comfortable home right in the middle of the road.

Game Over, Man! is a sloppy production, with screaming and bullying used as a placeholder for actual jokes. The characters are such enormous jerks that they probably don’t deserve to succeed, at anything, so it’s hard to want to follow their adventures through an entire film.

One of Wes Anderson’s best movies, an imaginative and amusing travelogue through incredible settings, populated by wonderful characters, with a lot of heart and even a little insight. You can feel the love radiating off of this movie, like a hug from your own beloved pet.

Pacific Rim Uprising is a loyal, if unremarkable, successor to the giddy original.

Tomb Raider fails to develop interesting characters or motives but at least offers viewers some fun action.