In the interval between the release of "Super Troopers" and its sequel, we have moved on. For better or worse, Broken Lizard hasn’t. As a result, some of what would have been side-splitting in 2001 barely provokes a chuckle in 2018.

The way in which I Feel Pretty presents its message is one of the film’s biggest problems. If there’s something less subtle than a sledgehammer, it applies here.

Every time An Ordinary Man seems to be headed into a minefield of clichés, it takes an unexpected detour and the film’s final such excursion comes like a gut-punch.

A hard-to-swallow drama about sibling rivalry, mental illness, and bad therapy. Cobbled together using clichés and contrivances, Brian Shoaf’s feature debut perceives mental illness more as a personality quirk than a sickness and treats it almost as a kind of magical realism.

Wildling starts out strongly but the qualities that make the first 20 minutes engrossing and harrowing drain away and the movie morphs into a thoroughly unsatisfying excursion into fantasy-tinged horror.

Damn, is it good to watch a movie that expects the audience to pay attention and that doesn’t pander to the least common denominator.

A godawful teen-magnet utterly devoid of entertainment value beyond the lure of its popular, photogenic cast and the dubious attraction of playing the “guess who gets it next” game. The little bit of cleverness that ends the film comes far too late to save this movie.

The problem with Rampage is that it’s not content to be mindless fun. There’s too much exposition and too many needless human villains. Plus, the tone is more lugubrious than the flippancy suggested by the trailers.

Don’t be fooled by the PG-13 rating – A Quiet Place has an adult aesthetic and younger viewers may be unprepared for its unconventional style and unrelenting intensity.

Although the movie’s foremost goal is to deliver big laughs, it gets points for taking seriously the trauma of parents who, after nurturing and caring for their children over an 18-year period, are forced to let go.

Admittedly, the typical romantic comedy thrives on tropes and clichés but the pandering in Finding Your Feet is so extreme that it gets old fast.

First-time director Russell Harbaugh presents grief as it is, in all its pain and ugliness, rather than using the convenient, uplifting short-hand that Hollywood prefers.

With a running length of 30 or 40 minutes, Isle of Dogs might have been brilliant. Unfortunately, this concept, although suitable for a short, is too thin for a full animated feature.

Spielberg has invested massive creative capital into Ready Player One and the resulting production has all the ingredients viewers expect from potential blockbusters. Whether it achieves the level experienced by Spielberg’s biggest successes remains to be seen, but it is without a question one of the year’s most energetic, visually rewarding, and ultimately exhausting motion pictures.

Like most unintended second installments, this one is superfluous – a remix of moments, scenes, and images from its predecessor infused with the need to make everything bigger and louder.

Although the ending is generic and needlessly protracted, the production as a whole is suspenseful – full of diabolical little twists as it ventures deep into an uncomfortable territory using the trail blazed by "Misery."

Madame is populated by one-note individuals and the screenplay isn’t overly interested in building them beyond their core characteristics. As a result, lonely and bored Anne (Toni Collette) becomes unlikeable because she is defined by her vapidity and venality.

Imogen Poots and Zoe Saldana add their names to the project but, although they give solid turns, their roles are secondary. The star is relative newcomer 15-year old Madison Wolfe, whose performance is note-perfect.

Despite a threadbare screenplay featuring overfamiliar motifs, the movie gains traction as a result of a committed, riveting performance by Evan Rachel Wood.

This is one of those films where the comedy prefers to accentuate characters’ deficiencies than pursue slapstick. Because of this, Buscemi, Palin, Tambor, and a deliciously pompous and over-the-top Jason Isaacs (as Field Marshal Zhukov) shine.

Tomb Raider may be the most faithful adaptation of a video game to-date. Unfortunately, faithfulness to the source material doesn’t always result in the best cinematic experience and this is one of those occasions.

Love, Simon is charming and likeable in much the same way that heterosexual teen comedies can be charming and likeable.

Although advertised as a family-friendly feature, A Wrinkle in Time is a poor choice for younger children. The glacial pacing of the first half-hour, coupled with less-than-easily-digestible chunks of exposition will cause many kids under 10 (and a few adults as well) to squirm in their seats with impatience.

The narrative contains some clever moments but the resolution somehow feels like a cop-out, perhaps because we’ve seen it so many times before.

Although there are a few missteps, the movie boasts a deliciously dark tone that makes for compelling viewing.

Ted Geoghegan’s Mohawk is taut, bloody, and uncompromising – all with a dollop of social commentary thrown in for good measure.

The 2018 Death Wish has been developed with a specific audience in mind – those who enjoy these kinds of thoughtlessly violent outings. The direction is workmanlike, although without the flourishes that have added some visual razzle-dazzle to similar orgies of brutality like "John Wick" and its sequel.

Red Sparrow is a deliciously perverse, unflinchingly violent thriller – a modern-day espionage tale that breaks with the tradition of making the spy business the purview of suave and debonair characters.