One of those paint-by-numbers romcoms that feels like you might have seen it a dozen times before.

Perhaps die-hard fashionistas would find this reasonably diverting, but to everyone else, it is guaranteed to grow tiresome very quickly.

An action film, a spy thriller, a meditation on revenge, and a story about mentors and pupils, but mostly it's a movie that loves to maim and kill people and is very good at it.

Rat Film is an odd and captivating experience, and its fluid style is its most distinguishing characteristic.

A terribly uneven narrative that doesn’t especially work as drama or noir and which manages to waste a pretty good cast in the bargain.

It is that very lack of objectivity that makes Strong Island the experience that it is. It is a very tough film to shake.

Angelina Jolie's First They Killed My Father is far and away her best work as a director: a rare film about a national tragedy told through the eyes and mind of a child, and as fine a war movie as has ever been made.

Brad’s Status might be the most Ben Stillerish movie Ben Stiller has ever made, and that’s actually a good thing.

It’s that honesty that makes The Florida Project so powerful. This is a remarkable film, one of the best of the year.

Some of it is too broad, and I wish the film dug a little deeper at times, but this is one of those rare inspirational films that earns its inspiration.

The result is a mesmerizing thriller, a movie that asks questions with no good answers and traps us within its terrifying and bizarre situation with little hope for a happy ending. With uniformly great performances throughout the cast and Lanthimos’ stunning eye for detail and composition, this is one of the most unforgettable films of the year.

The performances and the inherent power of the true story keep it from being a complete disaster, but one hopes Serkis moves on to more challenging material with his follow-up.

It’s not a “bad” film, but Billie Jean King’s story could have been so much deeper. It’s a movie that doesn’t hit nearly as hard as she did.

The film’s boundless enthusiasm for the idea of the library wins the day.

Anger is an energy in Martin McDonagh’s brilliant Three Billboards Outside Ebbing, Missouri, one of the best films of the year.

Dayveon stands out with its vision, regional flavor and overall personality.

The dull Suburbicon lacks in witty dialogue, interesting characters, or even visual flourishes. It is as flat as the well-manicured lawns in the idyllic neighborhood that gives it a name.

mother! is at times horrifying, at times riveting, at times baffling, and at times like nothing you’ve ever seen before.

Gun Shy is an action-comedy starring Antonio Banderas that is lacking only action, comedy and a performance by Antonio Banderas that is anything other than a complete embarrassment.

The limitations of Palansky and co-writer Mike Vukadinovich's shared vision are, realistically, the biggest problem with Rememory.

The execution is riddled with problems, not the least of which is the absence of Salinger’s actual work.

Fallen fuses its one good idea with countless bad ones generated not from life experience but from recycled formulas.

The Limehouse Golem only reflects its creators' lack of imagination. Medina and Goldman invest so much time in (poorly) misleading audiences that they say nothing memorable about the past, or why it matters to today's audience.

Aan odd fusion of an earnest socially conscious drama and a B-movie mystery programmer that never quite comes together despite a strong performance from Adele Haenel at its center.

It is a celebration of these two eccentric and devoted teachers (and, by extension, teachers everywhere). We see them at work, we see them at rest, we see them kneeling by an open window smoking, wondering what they would ever do with themselves if they weren't doing this?

Trophy strives to be kind and fair. But it is unmerciful in its exploration of the hunting business. Like a ruthless lawyer, it loves poking holes in arguments that appear rock-solid.

Yes, the casual-chic interior designs shine as much as her mom’s ever did. But I never really felt at home with Home Again.

What Bill Skarsgard does with the role works well precisely because he doesn’t appear to be laboring so hard to frighten us. He doesn’t vamp it up. He’s coy — he toys with these kids — making his sudden bursts of insane clown hostility that much more shocking.