Traverses a high wire between comedy and tragedy and does so without a safety net. Outside the Coen Brothers, it’s hard to find a filmmaker with that skill and with this production, McDonagh has placed himself in august company.

Coco may not be a blockbuster but, regardless of how it performs at the box office, it’s a welcome return to a variety of animated fare that prizes inspiration over safety.

Gary Oldman’s portrayal of Churchill is among the best to reach the screen. With the help of makeup, Oldman immerses himself so deeply in the role that the actor disappears.

The movie, like the book, takes a long, hard look at the system of racial inequality that defined this time and place, and reminds viewers of the price to be paid for surrendering to our base instincts.

As with most slow-burn neo-noir movies, Sweet Virginia thrives on atmosphere. It oozes it from every frame.

Narrative-wise, Justice League is forced to do too many things.

While this sort of film has its share of pleasures, it runs out of steam long before the end credits arrive. At some point just past the middle, it goes on autopilot. The glimpses of cleverness become less frequent and the movie seems more interested in upping the body count than advancing the (admittedly thin) story.

The similarities between Daddy’s Home 2 and last week’s release, "A Bad Moms Christmas," are striking. Not only are the two films sequels to successful first installments but they follow the similar template of bringing back the most popular elements of the first movie, stirring veteran actors into the mix, and finishing everything off with a big kumbaya moment.

Kenneth Branagh’s new, workmanlike interpretation of the tale will be met with different reactions from those who are familiar with the ending and those who aren’t. It makes a big difference.

Along the way, there are moments of pathos and light humor but Last Flag Flying only occasionally ventures into melodrama or silliness, and those instances are easily forgiven.

Highlighted by an awards-worthy performance by Saoirse Ronan and structured around a light, witty script by Gerwig, the movie delivers a well-targeted snapshot of a year-in-the-life of an ordinary high school senior.

It is being touted as “Miike’s 100th film” and, while one could argue whether the numbering is strictly correct, it’s close enough to be reasonable. Here’s to another 100.

By avoiding the temptation to rail against religion and instead offer an introspective and respectful look at it, Novitiate becomes that rare thing: a movie willing to show the flaws of Catholicism without dwelling on its negatives.

One of those plot-by-numbers sit-com movies that tries hard (perhaps too hard) to reproduce the elements that made the earlier film successful.

It appears that Marvel has given up trying to broaden the tent. Although Thor: Ragnarok, the third film to focus on the exploits of the titular Norse God, boasts a lighter tone, when the flippancy is stripped away, it’s the same-ole-same-ole.

The movie, which features numerous dead-end side-stories and glaring plot holes, is short on narrative and long on allegory.

All I See Is You ultimately fails to deliver much beyond a gradual descent into disinterest and watch-checking.

Wow. Just wow. Every year, movie theaters bring us their share of surprises – both good and bad. Suburbicon goes immediately to the front of the line of contenders for the most disappointing film of 2017.

Wonderstruck is an evocative movie with a vaguely disappointing narrative that, although it reaches a conclusion, doesn’t justify the patience viewers must exhibit to reach that point

This is made for art-house viewers who prefer films that go in strange and unexpected directions, where a failure at least offers thought-provoking elements that can function as conversation-starters.

Ultimately, the film’s tone is hopeful. That at least saves Thank You for Your Service from being a complete downer.

Director Joseph Kosinski, despite being best known for handling the technical difficulties of "TRON: Legacy," shows the ability to push an audience’s buttons.

Apparently, someone turned up the heat because The Snowman is a sloppy mess.

Has some interesting things to say about someone thrust into the spotlight against their will but the sometimes heavy-handed emotional manipulation limits the production’s overall power and effectiveness.

Although the production is sporadically amusing, it feels like a 20-minute short that was expanded to feature length to its considerable detriment.

Marking the directorial debut of Andy Serkis, it’s competently made but not exceptional.

Uses drawn images to peer into the dark corners of teenage life: bullying, self-loathing, and depression.

The movie feels like Baumbach is working through some family issues.