It’s a film that aches with beauty. It cries with longing. It quakes with a rich sadness that lingers with you long after the final moments. A masterpiece of poetic filmmaking, Moonlight is one of the most powerful films of the year.

There’s a decent amount of craft on display, along with a filmmaker of genuine chutzpah. Throw just a little restraint into the mix, and you might really have something.

Nocturnal Animals doesn’t have much substance, but its dazzling style is hard to completely resist.

Arrival is a smart film, but it’s not a cold or clinical one. Both the first and last scene brought me to the verge of tears.

The group...make a fine crew. But the rest of the movie doesn’t find enough interesting wrinkles on the old formula to merit a reboot.

Whatever Demon’s autobiographical elements, this film feels incredibly personal; like a howl of pain ripped straight out of someone’s soul.

The film isn’t about catastrophe; it’s about the beauty of what happens when everyone works together to solve a problem.

The film will be remembered for its performances, but it should also be remembered for its messy, realistic examination of the complicated decisions we’re faced with in life.

Unafraid to expose her character's weaknesses and degradation, White Girl establishes Wood as a brazen new talent to watch.

At its heart, Florence Foster Jenkins is about a woman at her most unabashedly genuine, and there’s something admirable about that.

Morris From America is a sweet movie, but it doesn’t take us anywhere new. Its sincerity is admirable, but if Hartigan had dug a little deeper he could’ve captured something distinct and special.

Southside With You’s greatest assets are its performances.

Alvarez has crafted an intense, relentless and confident thriller that only occasionally fails.

Displaying the mastery of visuals and storytelling of a more established veteran, Laika president Travis Knight has gone beyond merely crafting a confident directorial debut; he’s made the studio’s best film to date.

Superficially, the movie looks a lot like past Phillips comedies about men behaving badly, with dirty jokes and wacky hijinks galore. But War Dogs is more critical of its protagonists’ behavior, and there’s plenty of sad commentary about the state of modern America.

The surprise standout is Chris Pine. Maybe because he possesses unfairly good looks and outrageous charisma, Pine hasn’t received much recognition as an actor. He is outstanding in Hell or High Water.

It’s raunchy, rowdy and almost completely insane. Unfortunately, it’s just not very funny.

From the first scene to the last, it’s an absolute mess.

Lowery’s visual world essentially translates the movie’s message, that magic is everywhere if you allow yourself to see it. It may be a cliché and sappy sentiment, and one we’ve seen again and again in movies, but when done right it can be a beautiful one.

While a reunion between Greengrass and Damon should feel like a refreshing extension of the franchise, Jason Bourne is just another replica, and an unnecessary one. The familiar pieces are in place, but it adds nothing that Greengrass hadn’t already accomplished. Maybe its best we let Jason Bourne retire for good.

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

The Infiltrator isn’t necessarily bad, it just has nothing unique, compelling, or memorable to offer in its over two-hour runtime.

Warts and all, the new Ghostbusters is still one of the best tentpoles of the summer (admittedly, that’s not saying much). It doesn’t tarnish the legacy of the original movie, and its own legacy might have been even stronger if it hadn’t worried about paying homage to the old Ghostbusters quite so intensely.

It might not be remembered in years to come, but it’s good family entertainment, and sometimes that’s enough.

The Purge has become the new "Saw" franchise: What began with a simple, contained thriller has escalated to outrageous, bloody chaos. And while James Wan’s feature debut was a bit more effective than DeMonaco’s first Purge outing, the latter has Saw’s diminishing returns beat with a recognizable (and coherent) mythology and increasing entertainment value that doesn’t rely on torture porn for thrills. That doesn’t make it any less silly, however.

The Legend of Tarzan is too boring to be truly offensive. In spite of some impressive hand and brow acting, Skarsgard’s Tarzan is a frustrating blank and Margot Robbie’s Jane is a simple damsel in distress.

The BFG’s sluggish pacing will test even older viewers’ attention spans. The visuals are potent, but the story is never urgent. The crux of the movie, inspiring people to dream, is a noble, beautiful thing. But not when you put them to sleep in the process.

Set to an electrifying score by frequent Refn collaborator Cliff Martinez (which may be his best yet), The Neon Demon is as deceptive as shattered glass, with a brilliant beauty so mesmerizing that you don’t notice its murderously sharp edges until you’re bleeding all over the floor.