An absorbing drama that represents director Ridley Scott (“The Martian”) at his best.

Working from a screenplay that he co-wrote with Jim Taylor, Payne delivers what must be his least funny film — if, indeed, his intention was to be funny.

Perhaps best remembered as a showcase for Stuhlbarg, who delivers a poignantly beautiful monologue that eclipses everything else in the film.

Highly enjoyable while you’re watching it, but it’s not particularly memorable.

The real fun of “Jumanji” lies in the casting. The towering Johnson and scrappy Hart play especially well off each other.

Like the fairground ride for which it’s named, Wonder Wheel is entertaining but not enlightening.

One of the best films of the year.

Star Wars: The Last Jedi has more than enough action, humor and stuff blowing up to thoroughly satisfy fans of the long-running franchise.

A gripping account of a pivotal moment in the early days of World War II, grounded by an Oscar-worthy performance by Oldman.

James Franco is fascinatingly weird as Wiseau, and brother Dave Franco complements him perfectly as a regular guy who has little choice but to go with his flow.

Entertaining in a way that’s practically unheard of these days. It’s about the sheer exhilaration of expressing yourself, no matter what anybody thinks.

Working from a screenplay by Susan Coyne, director Bharat Nalluri maintains a pace that brings to mind a wagon loaded down with too many Christmas trees. Though the movie has a great look, it’s short on storytelling magic.

It’s an interesting showcase for Carell, who turns in an uncharacteristically low-key but heartfelt performance. Cranston is more than a bit over the top, but Fishburne balances him out.

The colorful visuals are matched with lively music, especially de la Cruz’s signature song, “Remember Me.”

An intense, provocative drama about religion and its impact on those who embrace it as essential to their lives.

Lady Bird might finally be the role that earns Ronan (“Brooklyn”) an Oscar. As a young woman at odds with the world, and herself, she illuminates the film. Also worthy of Academy attention is Metcalf, who is sheer perfection as the quintessential stressed-out mom.

This is a generic, uninspired and mind-bogglingly boring comic-book movie that’s out to steal your money and time.

An emotionally involving drama that deftly sidesteps mawkishness.

Based on a book by Brian Selznick, Wonderstruck is a visually striking film that’s uncompromising in its approach — less about narrative momentum than about surrendering to the power of images.

This is the feel-bad film of the year. Recommend it to someone you hate.

Although Branagh delivers a film that’s reasonably watchable, the not-so-mysterious truth is that Murder on the Orient Express didn’t need to be remade.

One of the silliest and least substantial of recent comic-book movies — a jokey, unapologetically nonsensical romp that makes “The Avengers” look like “The Godfather.”

Suburbicon is a flawed attempt at dark comedy, but it’s hardly the disaster that critical buzz would have you believe.

Teller turns in one of his best performances as the contemplative Adam, who’s haunted by the choices he made on the battlefield. And Koale brings a poignant vulnerability to Solo.

Delivers a story that feels more like a footnote to history than a neglected chapter. But the cast is first-rate, notably Neeson in the title role. “Mark Felt” benefits mightily from his very particular set of acting skills.

Garfield (“Hacksaw Ridge”) brings his usual boyish charm to the proceedings while allowing for the occasional burst of precisely calculated angst. Foy (Netflix’s “The Crown”) arguably has the more difficult role, hinting at Diana’s inner doubts while maintaining a sunshiny demeanor.

One of the freshest and most entertaining films of the year.

Viewers who don’t want to visit Ponyville should just skip to the next town.