Soderbergh did some impressive work during his break from the movies, but Logan Lucky proves his talents need to be showcased on the big screen, melding crime and suspense with comedy.

In general, Glass Onion is a much sharper comedy than Knives Out, with snappier dialogue, flashy cameos, and quirkier characters.

Creed III returns the franchise to its roots in macho melodrama. Yes, Adonis and Dame eventually fight. But a lot of Creed III is about their lives away from the ring, and about universal themes that have nothing to do with boxing like getting older and feeling as if your dreams are about to slip through your fingers.

This is one of those stories when reality was stranger, and more entertaining, than fiction.

What begins as a smart, effective throwback to simple post-apocalyptic survival stories evolves into a knuckle-biting, chest-tightening thriller that combines old-fashioned character work with the modern efficiency of intensity and dread.

The perfect teen coming-of-age story is just as rare as a great sex comedy; and exceptional comedies in general are hard to find — which would make Blockers something of a cinematic unicorn for delivering on all counts.

There’s a novelistic quality to Mudbound that elevates it from what could have been a traditional and singular story about struggle and oppression into a layered, multi-dimensional one.

It does what all great horror movies do: turn real-world anxieties into the stuff of nightmares.

Even if you’re unfamiliar with the movements in the film, Manifesto is still a brilliant display of Blanchett’s unstoppable talent and Rosefeldt’s ability to use one art form – filmmaking – to explore so many others.

This movie isn’t just fun; it’s sincere and sweet and downright inspiring.

Franco’s performance as Tommy Wiseau is a thing of beauty. Without ever inflating Tommy’s achievements or his talents, and while still having a great deal of fun with his peculiar behavior, he makes him into what he always wanted to be: A true cinematic hero.

I sat watching Fyre in a state of amused disbelief (while, yes, occasionally taking the Lord’s name in vain). There’s not too many places to see this much madness, ego, greed, and full-on stupidity on display at the same time.

This movie takes big risks, and many of them pay off. War for the Planet of the Apes proves that big movies aren’t incompatible with big ideas.

In more ways than one, Jackass Forever really might be the most balls out comedy ever produced.

Its unhurried pacing, complex themes, and magnificent visuals that must be seen on a big screen make it feel like an artifact from an era of big-budget filmmaking that has been rendered essentially extinct by the franchisification of Hollywood.

In Thelma, Trier tries his hand at making a straight-up genre film — a love story between two women cloaked in a supernatural thriller. Perhaps unsurprisingly, Trier’s knack for nuance and graceful storytelling marries beautifully to a tender drama about self-discovery spiked with psychokinesis.

Even at its most comprehensible, there’s a lot Sicario deliberately leaves unsaid, and it builds to a crescendo of mayhem and moral rot worthy of a great film noir.

Spielberg’s version improves upon the original in almost every way; the performances are stronger, the casting is better, the script is sharper, and the social commentary is more biting. He’s made a musical that feels like it was written about today, not the New York City of the 1950s — much less Renaissance Verona.

In another director’s hands Air could very easily have become a piece of corporate propaganda for Nike and its ongoing Michael Jordan apparel empire. And, in a way, it still is — only it’s now an exceedingly entertaining and impressively heart-warming piece of corporate propaganda.

It’s the kind of movie that only comes around once every decade or so, but it’s well worth the wait.

Tickled is a fantastic film to watch and discuss but it’s almost impossible to write about it, because most of its pleasures come from following Farrier as he tries to find the powerful figure atop the Competitive Endurance Tickling league.

Filipino exploitation virtuoso Eddie Romero threw together a guerrilla army, a tin-pot republic, a roving gang of cowboys, and one nasty-tempered pimp for this standout B-movie.

Charlize Theron is the hero we need right now: As devilishly self-serving and smooth as Bond, as physically dynamic and stoic as Wick, Lorraine is confidently equipped to join the legacy of great movie action heroes and she doesn’t need your permission to do it.

Instant Family didn’t just exceed my low expectations; it obliterated them. It’s the kind of honest, human comedy that’s so rare from Hollywood these days that when one finally comes along, you sit there in the theater in slack-jawed amazement and wonder: How does a movie like this happen?

Although occasionally heavy-handed, Shyamalan’s latest is his most considerate and effective film in years, with a startling emotional core.

Mom and Dad gives Cage his most plausible in-story excuse to unleash his total Cageosity since Face/Off. Given a juicy part and the freedom to do whatever he wants, he embraces Brent’s madness with obvious glee.

It’s got more than its share of disturbing sequences, and a string of brutal murders. It’s also got surprisingly decent special effects for a movie that was surely made on a fraction of the budget of a DC Comics film. And it has a perfectly cast Jackson A. Dunn as Brandon.

As showy as that makeup and voice is, and as big and boisterous as Churchill’s speeches are, Oldman finds nuances that few actors do in this sort of role. He’s not all fiery tirades and tearful monologues.