The Star Wars universe is the best toy box a fanboy could ever wish for, and Johnson makes sure that Jedi is bursting at the seams with knockout fun surprises, marvelous adventure and shocking revelations that will leave your head spinning.

In the end, what Quest gives you is not just well-earned empathy but the pleasure of the Raineys' company, and that is what genuinely makes it worth seeking out and seeing ASAP.

I, Tonya is funny as hell, but the pain is just as real. You'll laugh till it hurts.

There are valid criticisms of Wonder Wheel as a film that feels more like a stage play – its claustrophobic atmosphere can be stifling. But even covering familiar ground, Allen finds the blunt truth at its core. As Ginny is stripped of her fantasies and exposed to the harsh glare of reality, Winslet stands her ground, as if to say attention must be paid. It should be. Her performance is absolutely astounding.

As a director, Franco succeeds beautifully at bringing coherence to chaos, a word that accurately describes the making of this modern midnight-movie phenomenon. Do you need to see "The Room" to appreciate The Disaster Artist? Not really.

The result is an acting duet that will haunt your dreams and break your heart.

Coco brims over with visual pleasures, comic energy and emotional wallop.

Gary Oldman is one of the greatest actors on the planet – and he proves it again as Winston Churchill in Darkest Hour.

It's a swooning new classic and one of the very best films of the year.

Wonder is an emotional wipeout, that's for sure, but Chbosky handles it with such tenderness and delicacy, you won't hate yourself (too much) for giving in.

Washington digs so deep under the skin of this complex character that we almost breath with him. It's a great, award-caliber performance in a movie that can barely contain it.

The director and her cinematographer Rachel Morrison do wonders with the elements that batter the people of every race and social class in the Delta. But it's the storm raging inside these characters that rivets our attention and makes Mudbound a film that grabs you and won't let go.

Justice League is a decent crowdpleaser, preferable in every way to the candy-assed cynicism of Suicide Squad. But sometimes shadows need to fall to show us what to be scared of. In the end, this all-star team-up is too afraid of the dark to work its way into our dreams.

There's too much undeniably impressive filmmaking to dismiss Thelma; there's too much uncertain storytelling to actually recommend it. Trier undoubtedly has a great horror-movie character study in him. We can't wait to see it.

It's a renegade masterpiece that will get you good.

Murder on the Orient Express offers audiences a deluxe journey to the past, but this pokey train goes off the rails about the time all the characters, except for Poirot, cease to matter.

The compensation comes in watching these three marvelous actors have a go at it, which they do with piercing humor and heart.

A warped wonder of a movie that takes twisted to areas few have investigated.

Just when you think there's nothing original or exciting left to mine from a coming-of-age story, along comes the totally irresistible Lady Bird – a reminder that no genre is played out when there's a new artist around to see it with fresh eyes.

Shot through with grit and grace, Novitiate is a potent provocation. It's also something special.

Clooney is too talented and committed a filmmaker not to get in his licks. But with Suburbicon, he's made a movie that is tonally at war with itself.

The whole movie is a grab-bag of insanity so off-the-chain hilarious that you stick with it even when the convoluted plot goes haywire.

Well, it's a little confusing. And slightly incoherent in terms of how it lays out the book's narrative about a serial killer who is targeting mothers and whose calling card is a snowman. And sort of not very good overall. It's bad.

At the end, with Sean's condition scarily deteriorating, the raw and riveting BPM musters the emotional power to floor you.

The surprise MVP runner-up here is Connelly, despite her tendency to get kind of yell-y during key dramatic moments. Her lonely Amanda is a better written version of a typical long-suffering-spouse.

A film of extraordinary details that adds up to less than the sum of its parts. But, oh, it gives a lovely light.

Even the opaque hints can drive you cuckoo with frustration. Lanthimos does not coddle his audience. His M.O. is to shock, provoke and leave you talking to the voices inside your own head. The choice is yours.

Does the script by William Nicholson sometimes hit the sentiment pedal too hard? It does. But look at the tale it's telling.