Baby Driver, Wright’s first-ever solo screenplay, is a thrilling and original cinematic joyride that pays homage to heist masterpieces while creating a legacy of its own.

Malick has found a way to translate how a familiar song has the ability to transport you back to a particular time and conjure a specific set of emotions. Whatever he’s been exploring over the past few years pays off here. Song to Song is far from his strongest film, but it’s his best and most exciting work since The Tree of Life.

Bill Condon’s live-action update of Beauty and the Beast is more reimagining than remake, a lavish and lovely take on a familiar tale (as old as time, no doubt) that enriches its source material without betraying it.

This is a creature feature, plain and simple — and, at least on a visceral level, a satisfying one.

You can try to enjoy The Great Wall as a delightfully crappy blockbuster, but when you remember this is a Zhang Yimou film, it’s just a disappointment.

It’s a mature consideration of the ideas underpinning its comic-book motifs. It’s also easily the best Wolverine movie of the three, and an impressive sendoff for Jackman’s version of the character.

It’s Verbinski’s eye that makes A Cure for Wellness such a wild, nightmarish treat.

A righteous follow-up that’s bigger and maybe not better, but just as good as its predecessor.

Fifty Shades Darker is a very faithful sequel; a milquetoast continuation of a bland romance between two boring people.

Like The LEGO Movie before it, The LEGO Batman Movie is far more entertaining than a giant piece of crass commercialism has any right to be.

Ultimately it’s Finley’s sleek and stylish visual language that makes Thoroughbred a must-see, and one of the best surprises out of Sundance. He composes his shots with such precision, control, and confidence.

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.

Guadagnino does a remarkable job of capturing the tension and anxiety that comes with not only first love, but first-time queer romances.

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

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

The crime story, involving the hunt for the men who murdered this girl, is strictly by-the-numbers (and there are a few clue that still don’t fit together in my mind) but Sheridan proves himself a surprisingly effective director of action.

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.

On paper, The Little Hours sounds like a combative anti-religious tract, but Baena’s less interested in mocking the church than in basking in the gulf between humanity’s lofty aspirations and its baser instincts.

This film disturbed me way more than most conventional horror movies, because Lowery understands that the really frightening part of any haunted house tale isn’t the ghost or the demon or the everyday objects moving of their own accord. It’s the reminder that death is coming for us all, whether we’re ready for it or not.

The film is almost as messy as its characters’ love lives, and the early scenes, which take a long time establishing the various subplots, play less like a dramedy than a comedy that could have used more jokes. But the movie gets more earnest and impassioned (not to mention better) as it goes along.

The film works effectively on its own terms as a new variation on a timeless subgenre, and as a warning to people who share their lives freely online.

One of the best things about The Big Sick is that the obstacles facing this relationship are real and relatable. It’s a funny movie, but it’s about really serious stuff.

Funny, feel good, and touching, The Incredible Jessica James will leave you with a smile on your face.

Although it’s sometimes uneven with somewhat underdeveloped characters, I Don’t Feel at Home is nonetheless a clever blend of two very different genres. Blair’s mix of humor and feverish violence works best in the film’s final act, when things turn completely nutty.

Live by Night is a very mixed bag: Earnest, handsome, even passionate — and also slow, digressive, and a little bland.

It’s a tender, introspective film you’ll want to pull in close, hold tight, and keep with you.

With his mastery of composition, editing, and music, Scorsese has made some of the most engaging movies in history, experiences that express fascinating ideas through gripping stories, compelling characters, and unparalleled craft. Here, all of those elements seem sublimated to the larger points Scorsese wants to make.

If Passengers was about two people who woke up at random and fell in love, it could be a pretty decent sci-fi adventure. Instead it suggests that consent doesn’t matter, codes stalking as romance, and lionizes its male lead while turning its female character into a love-sick damsel.