The Death of Stalin is explicit content music to the ears of comedy buffs, a torrent of gutter wordsmithery unleashed by a bawdy ensemble.

This movie is smart terror that’s a lot of fun if you let it be. Stay quiet or stay at home.

Director and co-writer Sebastian Lelio keeps the melodrama muted, allowing Vega’s expressive passivity to move viewers. She’s a tragically striking character, a face of abruptly lost love seldom seen in movies.

Gloriously, uproariously, there’s Rose Marie herself, sharp and tart as ever with total recall of every juicy moment, every conversation. A portrait of an indefatigable entertainer emerges, restless when she wasn’t working and fearless when she was.

Free to create practically any whim, Anderson requires a bit too much narratively of himself and brainstorming buddies Jason Schwartzman and Roman Coppola. Their plot scrambles keeping pace with inspiration, eventually surrendering to commotion and holding on for dear clarity.

I’m stunned by where this movie dares to go with a star like Lawrence (and female co-stars) at a time like this, nearly as much as I’m impressed by Red Sparrow’s total investment in such trashy, grindhouse affairs while maintaining a veneer of high-toned quality. Blood lust and carnality at its classiest. Guilty pleasures as charged.

Alex Garland’s Annihilation is a bracing blend of cerebral sci-fi and grindhouse terror, a genre movie that’s more, maybe too much for some viewers.

Game Night is one of those comedy tweeners in which the jokes that click are milked too long and jokes that don’t will take too long to confirm that. Appropriately for the premise, it’ll likely be more enjoyable at home with friends.

Early Man proudly retains Park’s simple/not simple Plasticine pleasures.

Marvel’s Black Panther is a milestone not only for its casting and director/co-writer Ryan Coogler’s cine-griot myth building but because it’s alive with fresh sights and sounds in a genre easily leaning on sameness.

Call it what you want but this movie is an instantly fond memory.

Craig Gillespie’s hysterically accurate biopic I, Tonya sets up the punchline she became. Harding’s spiteful rise and spectacular fall would make fine comedy even if they weren’t true. I, Tonya scores on higher degrees of difficulty, making these tabloid antics relatable and strangely sympathetic.

The Shape of Water is a fairy tale of eros, horror and whimsy, a creature feature doubling as a swooning romance, its bloodiness pumped straight from the heart of master fantasist Guillermo del Toro.

The Jumanji sequel nobody demanded is fun. Kind of. Sort of. It’s a close call.

The Greatest Showman is the feel-good (and feel good about it) movie every holiday season needs. P.T. Barnum is famous for saying there’s a sucker born every minute and he’s still right. For 105 minutes I’m a sucker for his movie, that may not be the greatest show on Earth but close enough.

Star Wars: The Last Jedi launches the franchise to another level of action and humor thanks to incoming writer-director Rian Johnson, whose imagination seems boundless as George Lucas’ 40 years ago.

Franco doesn’t ask viewers to reconsider bad art but to respect the artist behind it. Sage advice from someone who, after a few career disasters, can still shape a movie this good.

The Man Who Invented Christmas is good at its feel-iest, a beloved but stale tale retold with novelty while revealing an interesting rest of the story. Let’s hope it becomes a perennial like so many versions before, with Plummer’s Scrooge as a yearly gift.

Three Billboards lands somewhere near Coen brothers country, eloquently finding comedy in horror and vice versa. Yet it remains its own mangy animal; a study in grief that’s funny, finding justice in terror and forgiveness after the unforgivable.

Linklater tinkers with Ponicsan’s memorable characters while asking practically the same performances of his actors that Ashby did. Of course, if a viewer isn’t familiar with The Last Detail then Last Flag Flying gets by as an okay grumpy old soldiers tragicomedy. The rest of us know better because we’ve seen far better.

Justice League does remain fun as it unravels, an upgrade from every other DC flick. Yet a movie intended as the culmination of DC lore instead feels like just another sequel set-up.

Always lovely to observe, Wonderstruck never entirely grasps the magic of the coincidences it requires. Themes are emotional yet Haynes’ obsession with visual detailing can drain their meaning.

They’re called comic books for a reason too many superhero movies neglect. Not Thor: Ragnarok, one keenly aware of how silly all this universe saving stuff is. Guardians of the Galaxy is fun; this movie’s funny. There’s a difference.

The Florida Project is a very funny, incredibly warm movie about what amounts to child endangerment. It earns its laughs, gasps and tears honestly, almost always keeping the kids distanced from unsavory situations. When that gap is bridged by a violent or protective act, the effect is devastating.

Never Here is a moody inversion of the stalker genre, less of a thriller than a Lynchian thinker. Thoman has a bright future and we'll say we knew her when.

Robinson's screenplay covers all of its bases by the midway point, and then a framing device of Marston being interrogated by a cultural watchdog (Connie Britton) hammers his theories flat.

Villeneuve crafts a movie both cerebral and sensuous, as puzzling and visually striking as its predecessor. The experience should be likewise revered by next generations.

Victoria & Abdul is a small tale well told, a modest historical biopic allowing Dench a remarkable encore.

Stone is terrific, easy to cheer. She's feisty but a bit softer around the edges than King deserves. Another Oscar nomination is certain. Throw in Steve Carell's uncanny impersonation of Riggs and a stellar supporting cast and Battle of the Sexes has the makings of fine time capsule comedy, an extraordinary sports happening even by today's wired standards.

Brad's Status is White's second admirable screenplay this year after Beatriz at Dinner, each rapier sharp about human conditions. This script brings out Stiller's best, meaning his characters' worst. Midlife crises this well-written and performed never grow old.

American Made wants it both ways, with comedy eroding its drama and vice versa.

Green studies characters, allowing scenes more time to expand personalities and usually knowing when to cut. Stronger is his most conventional, audience-friendly material ever but is still a movie of such quiet intimacies.

King's book isn't hallowed literature, just a little vicious fun, if 1,100 pages can be considered little. This is the spooky, overlong movie It deserves and It deserves that sequel. Float on.

The Safdies' knack for '70s-era grit set to techno beats impresses nearly as much as their star, a teen dream waking up to an exciting new stage of his career.

Director Dave McCary maintains a suitably goofy tone and inspired casting (Hamill, Greg Kinnear, Claire Danes) make for a pleasantly uneven experience.

The movie's strength is Sheridan's knack for vivid characterization through little more than casual remarks and consistent voices.

For all its eccentricity Logan Lucky too often reminds us of movies Soderbergh or someone else made before.

The Glass Castle meanders toward its uplift ending, needing a few more of Cretton's clever time-jump edits, less rehashing the same personal failures. Not a bad movie at all, at times something more but seldom what it could be.

We are "there" although Detroit squanders that sensation on revulsion, a gut punch needing to take more shots at our heads.

David Lowery's A Ghost Story is a different sort of haunting, a quiet reverie of never letting go of people, places, anything. Some viewers may think it silly, others profound, but there's no other movie quite like it.

The movie always fascinates thanks to Olsen, who'll never be just a semifamous sister again.

Shannon is perfectly cast, a creepily magnetic actor with an otherworldly calm, tight jaw and piercing, set-apart eyes. The performance and movie stick with you, with masterful construction and muted psychological horror.

The Little Hours is less than the sum of its many comedy parts but some of those many are hilarious.

Dunkirk is a staggering feat of filmmaking, as Nolan's fans are accustomed. Van Hoytema's cinematography conveys death trap closeness even with IMAX cameras on a vast beach. Hans Zimmer again proves himself a masterfully dramatic composer, turning violins into the sound of spiraling aircraft. The performances are solid as such Nolan's vision requires, including pop star Harry Styles briefly.

War for the Planet of the Apes seals Caesar's place in the pantheon of movie messiahs and the trilogy's place among the finest ever.

This movie doesn't play any of its themes cheaply.

Spider-Man: Homecoming does the improbable, successfully rebooting a reboot of a trilogy that did the job well enough only a decade ago. It's a movie that could be unnecessary but isn't.

Despicable Me 3 doubles down on Steve Carell's silly way with words, a smart idea after too much Minions gibberish spoiled Part 2. They're still here, in smaller doses and somewhat funnier for it.

A slam-bang terrorist thriller from first frame to last. It also is astonishingly conventional. You've seen the plot machinations up to the final showdown in a dark, secluded house in dozens of movies before, though rarely so well-orchestrated. [5 June 1992, p.5]

It's witty, wise, nasty and frothy. But it's also frantically paced, leaving its cast and the audience in its wake as it plows forward. [31 May 1991, p.6]

It takes a while for Arteta's ideas to click but his finale begins as revenge served cold and ends with chilling symbolism.

Style is the substance of Edgar Wright's inventive heist flick, a fresh, masterful synching of music and getaway mayhem, as if La La Land's traffic jam was moving, armed and dangerous.

Cars 3 is a better time at the movies than Cars 2 led me to expect. Not exactly ringing praise but we take amusement from sequels where we can get it these days.

Roger Michell's revival of My Cousin Rachel is a graceful note amid summer's movie din, adapting Daphne du Maurier's black widow mystery with class bordering on defiance.

Megan Leavey does the feel-good job everyone intends, an interesting story straightforwardly told. Cowperthwaite and Mara won't get a fraction of Wonder Woman's audience yet deserve as much respect.

While The Mummy isn't the big bang preferred to start the Dark Universe of classic monsters, it's a serviceable popcorn flick dangling hints of promising things to come.

While the villains are standard issue evil, Wonder Woman is remarkable in the genre for its early 20th century setting and Gadot's galvanizing performance.

Chuck is a character study of fleeting fame in prolonged decline, anchored by Liev Schreiber's brutish charisma in the title role.

Alien: Covenant is smarter than the average horror flick with a healthy dose of gross.

Snatched amuses because of who's delivering the jokes rather than what the jokes are.

James Gunn's second spin with Marvel's interplanetary misfits still entertains but this time the fun feels forced. Gone is the original's scrappy underdog spirit and a director operating like it's his only chance to make a movie.

The Fate of the Furious doesn't merely suspend disbelief, it expels it like a delinquent student told to never come back.

Personal Shopper is wildly imperfect, wandering like Maureen through surroundings matching her dark, curious mood. Dead ends abound with scenes running long then abruptly dropping their subjects. Thrills aren't part of the bargain unless Stewart's intense vulnerability counts. Now more than ever, it should.

Like its predecessor T2 Trainspotting aggressively shocks and charms, a singular example of cinematic bravura now improbably duplicated.

Espinosa overcomes any shortcomings in originality and logic with one of the most satisfying finales in recent memory. First impressions are important but a clever last impression makes Life worthwhile.

The movie is pleasant enough thanks to Kendrick and co-stars, especially Merchant's daft mannerisms and Squibb's matronly spunk. It's solely their attention to the project holding ours.

James Mangold's Logan is an uncommonly mature comic book movie, practically from another universe unto itself. It's a movie demanding and deserving to be taken seriously, an elegy for a mutant.

Get Out loses its nerve winding down but it's a rare horror flick not wasting all its brains on splatter.

This movie's balletic brutality, its relentless pacing and practical stunt work are breathtaking.

The pleasures of The LEGO Batman Movie are plentiful, especially its cockeyed reverence for the Dark Knight's past.

Working for the first time with French cinematographer Jean-Claude Larrieu, the director retains his signature framing and crimson flourishes.

Split is a tidy example of lurid understatement, its themes ripe for nastier treatment than Shyamalan offers, grindhouse stuff served with vegan restraint.

Even in repetitive or undernourished moments Keaton, Offerman and Lynch always entertain. Their performances have fallen through the cracks of awards season.

Only Scorsese could craft a film of such moral gravity for multiplexes and fascinate for nearly three hours.

Like Lone Survivor and Deepwater Horizon before, Patriots Day is a brawny procedural, more than the exploitation flick it could be. Berg and Wahlberg's commitment to details beyond death and destruction feels like a calling.

J.A. Bayona's exquisite A Monster Calls blends pathos and sophistication, fairy tales and harsh realities into a small masterpiece.

It's a lesson that African-American culture offers more inspiring stories than Hollywood has chosen to tell.

If Fences occasionally feels cinematically inert, it's emotionally resonant thanks to Davis and Washington the actor, not the director as much.

Lion can't avoid seeming lesser in the second half after Davis' mesmeric first but it's solid storytelling nonetheless. Bring the Kleenex.

Yes, it's Meet the Parents time again but flipped and filthier, in a good way. Why Him? had me laughing louder, more often than most smutcoms do, a NSFW blusher delivered by a keenly comical cast.

Anchored by Natalie Portman's uncanny impersonation — wispy voice, aristocratic posture — Jackie fascinates and frustrates, sometimes at once. We can't be certain any of her actions here are true. Some don't seem likely.

La La Land is a trove of references to musical milestones, not derivative but truly inspired. A more joyful movie for grown-ups can't be found this season.

Rogue One will engage such diehards but making new friends for the brand is unlikely.

Moonlight is a modest masterpiece, and quite possibly the best film of 2016.

Manchester by the Sea is a gracefully coarse ode to lives knocked down and if not bouncing back at least not splatting at rock bottom. There are also glimmers of humor shining all the brighter because of the darkness they cut through.

We can now agree that Johnson is not only the Sexiest Man Alive but also our strongest, lifting Moana on his character's beefy shoulders, carrying it like other hits before. No movie left behind.

It continually finds some added depth and shading to its familiar setup and it's hard to not appreciate a movie that's content to be a solid, unpretentious genre entry, especially for a first outing.

Christine is a movie as bleak and withdrawn as its protagonist, with Hall making the most of her best role in years, a slow death spiral that's hard to look away from.

It's one of a handful of movies that have legitimately fooled me; not with an abrupt twist but a dawning awareness of where it's going thematically, how deeply and how distanced from sci-fi as usual.

A nice balance of solemn myth making and genre irreverence lifts Doctor Strange to Marvel's first tier of movie franchises.

It feels disingenuous to celebrate Doss' moral code by vividly pretending to demolish it. Nobody disputes the notion that war is hell. But maybe this particular war movie didn't need that.

David Hare's screenplay based on Lipstadt's book is intrinsically stacked toward her eventual triumph, with each familiar step worth watching.

Sure, Arnold's movie is aimless, at times frustrating, like its characters. It's also a harshly poetic reflection on what being young must mean today.

Parker makes an assured feature filmmaking debut, with poetic imagery and powerful narrative.

Burton's manner is changed, not drastically or consistently but more controlled, making strangeness the story's accessory rather than its purpose. He seems inspired by this material for the first time in years, in a creative vein where he finds the most satisfaction.

Deepwater Horizon is a brawny hybrid of technical expertise and real-life tragedy, with neither quality getting shortchanged.

The film is able to overcome some of its narrative familiarity just by showcasing characters, locations and music we rarely see on screen. Having Monsoon Wedding director Mira Nair at the helm also brings a visual vibrancy and communal energy to the proceedings.

It's occasional fun, but that's about all, folks.