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.

I, Tonya is a fairly conventional biopic of the scandalized sports star, but one buoyed by Margot Robbie's performance.

Gorgeous and unpredictable, and maybe a little indulgent, Phantom Thread is another fascinating drama from Paul Thomas Anderson, with captivating lead performances by Daniel Day-Lewis and Vicky Krieps.

Steven Spielberg tells an intimate story through extravagant storytelling, giving audiences an intensely relevant historical drama, and giving Meryl Streep one of her most nuanced roles in years.

Guillermo del Toro’s engrossing fairy tale The Shape of Water offers so much to be enamored of in terms of performance, execution and design that it’s disappointing when its story veers into formula.

Coco wonderfully explores familial themes, identity, and learning what it means to grow up in a world that isn’t perfect.

Molly’s Game doesn’t announce Aaron Sorkin as the next great filmmaker, but he’s a good one. It’s a competently filmed production with some fine performances, but it lacks the focus and showpersonship that would be necessary to make it feel like more.

Gary Oldman gives an impeccable performance as Winston Churchill in a gorgeously photographed, suspenseful World War II film that suffers from too much hero worship.

The Disaster Artist is a hilarious and heart-wrenching ode to outsider art, with a baffling story that would be impossible to believe if it weren’t apparently true. James Franco directs the film with sensitivity and painstaking detail, and gives a fantastic performance as one of the worst filmmakers - and one of the most unusual human beings - ever.

Featuring several stunning performances by its stars, with Jacob Tremblay shining brightest of them all, Wonder ends up being a much better and wiser film than its trailers or premise let on.

Mudbound is a daring approach to a classical narrative, a film that tries to look from multiple perspectives at an intimate human drama that has far-reaching ramifications. Its imperfections are debatable, and fairly minor. It is the work of a bold storyteller working at the top of her game.

Call Me By Your Name is a romanticized coming of age film, for better and worse. It’s a lovely place to visit but not particularly absorbing as a narrative, even though Armie Hammer gives an impressive performance.

If you can get past the many bizarre inconsistencies, The Star is a relatively decent film for young Christian audiences. The writing, voice-acting and animation are unremarkable, but they get the job done, and the film’s heart seems to be in the right place.

It’s messy and flawed but it still offers enough entertainment value (mostly thanks to its likable characters) to make it worthwhile.

Trier manages to make a movie about passion that feels almost completely detached, right to the end. It’s an approach that gives Thelma, the movie, the appearance of portent without fully exploring the fascinating themes, characters or storylines that might actually have justified that self-serious tone.

It’s a classy, riveting remake, and it will make you want to see even more adventures featuring this particular Poirot.

Daddy’s Home 2 seems like just another cookie-cutter comedy, but its heart is in the wrong place. It’s mean-spirited and half-hearted, and more than that… it’s just not funny.