A stunning cinematic achievement that celebrates one of humanity’s biggest triumphs (and mourns the tragedies that happened leading up to it), yet it never loses sight of its personal and small-scale story about a man going to work.

Ultimately, an artsy crime film like this depends on the power of its central performances and how compelling the story’s main point is. Sevigny and Stewart make a good team, keeping you invested in proceedings even when the narrative bogs down.

A refreshing take of this classic showbiz rise and fall tale, with updated character work, fantastic performances by Bradley Cooper and Lady Gaga, and a soundtrack that will be stuck in your head for days.

While no entry in the franchise has surpassed the original film, this Halloween sequel is truly a cut above the rest and a great piece of horror entertainment even for those unfamiliar with the series.

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

The main trio within Sierra Burgess Is a Loser - Shannon Purser, Kristine Froseth, and Noah Centineo - are great, but the movie loses itself when it turns away from its more unconventional and grounded elements and leans into the unnecessary '80s dry rub.

When the film works, it can be very engaging but it is simply too inconsistent.

The Predator is, in many ways, a throwback to what made the 1987 original so beloved: it includes many of the same elements, such as the rowdy camaraderie amongst absurdly macho protagonists, a debauched wit, and a primal battle between man and beast. It’s a shame when everything splinters apart in the haphazard and shoddy-looking last half-hour.

Whether you find it exciting or troubling might vary from person to person, but either way Jennifer Garner delivers a standout performance that demands recognition, and will hopefully lead to better action movie roles for the actor in the future.

As a piece of the larger Conjuring universe puzzle, The Nun is a fun, if ineffectual history lesson that will provide fans with plenty of dots to connect. On its own merits, The Nun stumbles by not delivering any real terror or investment in its characters, instead resting on its strong visuals and atmosphere and, strangely, humor.

The Little Stranger may be a bit too slow burn at times and isn't for all tastes, but it's well-acted and engrossing.

Mile 22 is a straight-to-video action movie that got the big budget treatment, and not in the good, cheesy, fun way. It’s an undercooked story with characters who don’t know how to express themselves without yelling, and it’s full of laughable plot points.

All the genre elements play like an afterthought, and that's frustrating because the rest of the movie isn't quite spry enough to stay interesting without action, adventure, or at least little more weirdness.

Searching isn't just a gimmick movie. It delivers the goods.

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.

Puppet Master: The Littlest Reich almost works. The dialogue and performances are unusually good for this kind of material, and the gore effects are shocking. But the changes the filmmakers made to this franchise have unpleasant consequences, which dramatically reduce the film's entertainment value, and arguably rob these iconic puppets of the very characteristics that made them special.

Alpha (think Bear Grylls’ meets The Incredible Journey: Ice Age Edition) is a welcome end of summer surprise that will tug at the heartstrings and delivers a visual spectacle that will wow. It’s just a shame that it tips more towards spectacle over substance.

Crazy Rich Asians stuns with its glamour, and gives us the sort of vicarious wish fulfillment that is the appeal of Cinderella stories the world over.

One of Spike Lee’s best movies. With a dynamite cast, sharp script and pointed humor that underscores real-life, disturbing horrors, it’s an entertaining crime drama that amuses and shocks and invites the audience into a complex and impassioned conversation about the power of racism - and the moving image - to influence our lives.

The Meg is a big, dumb shark movie that takes itself a little too seriously, and that’s the point. Jason Statham is perfect for the material, the shark attacks are entertainingly broad, and the supporting cast brings personality to the otherwise straightforward script.

If the story behind this chilling internet creation could have matched the quality of those aforementioned strong points, Sony would have a real horror gem on their hands.

I'm not sure who first had the idea to fit a father/daughter drama into a rom-com casing but the result is very weird and very unfulfilling. Tonal whiplash is the least of Like Father's problems though as it basically furthers the messaging that Netflix likes to have talented people make unexceptional films.

A formulaic and depressing motion picture that takes meaningful characters and strips them of their reason to exist.

Kings' fragmented treatment fails in delivering a compelling story. It also lacks the depth and clarity needed to convey a solid message, which one can assume was the purpose given the liberal use of certain politically charged images and sound bites. The potential was there for something grand though.

Netflix's Extinction has its moments but is marred by a familiar premise, an uneven pace and a weak lead performance.

The Darkest Minds is a wholly rote YA sci-fi adventure that continues a genre that is pretty much dying out. Despite this, the film is capable and enjoyable and features a great lead actress in Amandla Stenberg.

Woman Walks Ahead has some narrative issues but is ultimately a well-acted biographical drama.

Teen Titans GO! to the Movies is bonkers in the best way - a gleefully weird, frequently witty ride that has no desire to take itself - or any other superhero movie - too seriously.