Black Panther delivers the goods as an adventure film, a political statement, and a cultural celebration. It shakes off a sluggish start thanks to a memorable cast of characters going up against Marvel’s best-realized villain in almost a decade.

The Cloverfield Paradox is a paradox in itself. Split between trying to be a standalone sci-fi space horror and a key linking point in the Cloverfield mythos, the film never truly succeeds at either.

The relentlessly slapstick Peter Rabbit may please the kids, but the film never quite realizes its full potential.

You won't lose yourself in this haunted house, even though that was supposed to be the whole point. A film about a labyrinth filled with ghosts quickly becomes methodical and familiar, stranding a great cast in an inert supernatural thriller.

Even though the use of one particular plot device ends up feeling unnecessary and Will Forte can often appear miscast in the lead role, A Futile and Stupid Gesture still conjures up enough real emotions and inventive moments to feel like a worthwhile addition to Hollywood’s often tired biopic subgenre.

With a sensitive ear for the experiences of its friendly subject, and nothing but sympathy for what he says, Love and Saucers paints a fascinating portrait of a talented and unique person.

While hardly high cinema, Kickboxer: Retaliation is an enjoyable fight epic with some awesome fighting, great cameos, and hugely impressive stunts.

The familiar story and underdeveloped characters aren't nearly as magical as the animation, but there's still a lot to enjoy in Mary and the Witch's Flower, even if it's not Hiromasa Yonebayashi's best.

Clichés combined with poor dialogue and badly drawn characters that lack dimension bog down the heist movie Den of Thieves, which fails to sustain, or generate, any real tension.

It’s a shame that The Maze Runner movies are going out on their flattest note, but The Death Cure isn't completely off-key. Wes Ball has directed every entry in the franchise and he’s evolved into a very skilled action filmmaker. Complex set-pieces with an incredible number of moving parts are depicted clearly, excitingly, and with visual panache.

When it works, it's engaging and there’s just enough to keep you entertained but you can’t help feel the heroes deserve something meatier.

Early Man lacks the warmth and wit of Aardman's best clay creations.

Although Taraji P. Henson is always a delight, a rote plot, bland action, and a serious lack of interpersonal chemistry hamstrings any potential Proud Mary might have at being fun.

Liam Neeson is back with The Commuter, though viewers may wind up wishing they bought a ticket to a different train.

Insidious: The Last Key may be somewhat engaging but it’s also sloppy and doesn’t amount to much.

Saoirse Ronan gives a standout, brilliant performance and so does Laurie Metcalf as her long-suffering, big-hearted mother. It’s a remarkable solo directorial debut from Greta Gerwig.

Paddington 2 goes all in on the charm and wit established in the first film and comes up with yet another winner.

You'll certainly find better alien mayhem films than Beyond Skyline, but some creative special effects, interesting fights, and fun, alien brain-sucking will keep you moderately – but solidly – entertained.

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.

At its best, All the Money in the World is a rich and exciting story about a woman trapped in a universe of apathetic and powerful men, fighting her way out any which way she can. At its worst it’s a well-shot but ultimately middling thriller.

The Greatest Showman is wildly entertaining even when it’s spectacularly false, which is a lot of the time. But everyone is enjoying themselves on-screen, so you might as well enjoy yourself too.

Scott Cooper directs Hostiles with an eye for quote-unquote “greatness” but the actual material simply isn’t deep enough to justify the solemn presentation. It’s not entertaining, it’s not illuminating, it’s not even complicated. It’s mostly just a bummer.

Father Figures is a baffling film, one that never seems to ever get a handle on what it is or what it wants to be. It’s one thing to make a movie about characters stuck in arrested development, unsure of where they’re going, but it’s another for the writing and editing to also feel that way. In short, Father Figures is just a straight-up mess.

Bright could have been something truly special if it had slowed down the pace of its narrative to allow for a fuller exploration of its engaging world.

It’s not very funny, it’s not very dramatic. There’s a spark of intelligence here, a valid critique of doomsday culture and escapism, but it’s the sort of message you can easily get off of a cocktail napkin.

Pitch Perfect 3 tears up the rule book for the franchise but sadly all the rules in it are what made the original work so well and the second film work well enough.

Star Wars: The Last Jedi is the quintessential Star Wars movie. It embraces everything in the franchise that came before while taking big risks to push the story into new and unexpected places.

Jumanji: Welcome to the Jungle brings audiences back to its classic fictional world with a fun, updated new twist on its well-worn story. So even if some of its subplots and emotional throughlines don’t quite click, the action-packed fun and humor should still make it worth your price of admission.