In a way, though, Robinson’s less-edgy aesthetic is even more subversive than graphic sexuality. By treating the Marstons’ lovemaking the same way arthouse movies have treated heterosexual couples for decades, she refuses to portray them as aberrant or abnormal.

The screenplay, written by director Peter Landesman and based on books by Felt and John D. O’Connor, does a fine job of condensing a sprawling conspiracy into a digestible feature, although it sometimes favors clarity over nuance and winds up enunciating important plot points in glaringly unnatural dialogue.

It’s a heartbreaking love story about loneliness and the transcendent power of language, and it’s simply magical.

Downsizing is all half-empty, big ideas that accomplish very little.

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.

It is a movie about how anger consumes and destroys, and how the only cure for that anger is empathy, something that’s in short supply these days but Three Billboards has in abundance.

Love it, hate it, or stuck somewhere in between, it’s something you simply need to see to believe.

With little drama or humor, it mostly amounts to watching a guy complain about his fairly decent life for 100 minutes.

The movie cuts back and forth between the two, and their themes speak to one another in some ways, but the competing narratives barely intersect. At times, it seems as if director and co-writer George Clooney made a movie where separate but equal is not only the subtext but also the organizing principle.

The Florida Project immerses us in more stories that too often get excluded from movies. It finds magic in the mundane, and reminds audiences how to look at the world through fresh, untainted eyes.

IT is better than The Dark Tower in every conceivable way. And beyond the inevitable comparison, it’s just really good. Scary good, even. The new IT is narratively coherent, mythologically complex, and above all, fun. Yes, fun.

The film never figures out how to merge Jeannette’s younger and older perspectives into one cohesive voice.

Good Time is a uniquely exhilarating experience with a sharp, unflinching style and a magnetic performance from Robert Pattinson.

The Hitman’s Bodyguard is not the best movie of the summer, but it is easily its most pleasant surprise. An unapologetically violent and vulgar buddy action comedy, it updates the template set forth by Lethal Weapon and particularly Midnight Run for a new era.

Detroit suffers from muddled intentions and a lack of a clear why. It could have maintained a narrower focus on the lives of the black folks affected by the motel incident. Instead, Detroit tries to accomplish too much too cautiously.

There's certainly a thrill to watching a single woman lead a movie where she's chasing down criminals like an unstoppable killing machine. Is Kidnap inane? Totally. But fun? You bet.

Even when the movie around him is total garbage nonsense, it is fun to watch Idris Elba; the way he walks, the way he stares at people with eyes blazing with intensity. He is an ideal action hero. He looks like the coolest man who ever lived in his fantasy Western garb, and he moves with a rare combination of grace and force, like the greatest possible combination of Gene Kelly and Chow Yun-Fat. He makes an amazing Gunslinger. Sadly, he’s trapped in a not-very-good Gunslinger movie.

There are plenty of words that can describe The Emoji Movie. Here are a few of them: Unfunny. Saccharine. Nonsensical. Painful. And, of course, crappy. (If you prefer the poop emoji, that works too.)

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.

Dunkirk would have been even better, though, if any of the characters seemed as fully realized as the aerial and naval warfare. Without that, it works best as pure sensory experience; incredible visuals, intense battles. In the rare quiet moments, we’re invited to observe an unusual instrument featured in Hans Zimmer’s score: The ticking of a clock, a reminder that while Nolan can change the march of time, his heroes cannot.

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.

The latest from the French filmmaker is a dazzling feast of spectacular visuals and exhilarating set pieces. It’s Besson’s most ambitious film to date, and the most original big-budget adventure you’ll see on screen this season. But such ambition doesn’t always come without flaws.

It is, from start to finish, one of Pixar’s best films.

Spider-Man: Homecoming is a return to form, featuring an incredibly likable cast, a compelling and complicated villain, and a irrepressibly charming Spider-Man. Welcome home, Peter.

The Last Knight is not, in any conventional sense, entertaining or good, although parts of it are spectacular.

While this movie may not reach the heights of Pixar’s finest achievements, it certainly stands as not only the best Cars, but the most mature one as well.

It may unfortunately ring hollow for some, but for those who acutely empathize with the ravages of grief, Shults has delivered a film more horrific than any boogeyman or ghoul in recent memory.

The nonsensical story would matter less if The Mummy would get out of Cruise’s way and let him do what he does best. Instead, it buries him beneath punishing dialogue scenes and surrounds him with unconvincing and unoriginal special effects.