The antic chemistry between Mann, Cena and Barinholtz is stellar. Together, they capture the panic, embarrassment and sentimentality of young-adult parenthood as they scramble after their kids, none of whom need saving.

Ambiguous and damning at once, John Curran’s Chappaquiddick plunges us back into the summer of 1969: the season of Woodstock, the moon landing, the Manson murders and the lowest ebb of the Kennedy mythology.

A Quiet Place may not have the weighty social meaning or piercing comedy of another recent high-profile horror thriller, “Get Out.” But like that movie it is smart, it moves fast, it has a hugely satisfying ending — and it deserves to attract a much broader audience than the usual horror film devotees.

A fascinating and poignant look at the less-examined final years of the man’s life, timed for the 50th anniversary of his death.

Glum and meandering, the Los Angeles-set mystery about a Hollywood starlet and her assistant starts off promising enough but trudges along aimlessly to a deeply silly and maddening end.

Steven Spielberg’s Ready Player One, a rollicking virtual-world geekfest flooded by ’80s ephemera, doesn’t just want to wade back into the past. It wants to race into it at full throttle. For those who get their fix through pop nostalgia, “Ready Player One” is — for better or worse — an indulgent, dizzying overdose.

Unsane, a pulpy psychological thriller, is an exercise in both genre and technology. It’s a B-movie iMovie. And it’s 98 minutes of proof that the laborious apparatus of filmmaking can be not only light on its feet, but fit snuggly inside your pocket.

That Anderson can still excitingly tell a new story within the structure of his unique visual language that we’ve gotten to know so well is just a testament to his incandescent genius. We don’t deserve Wes Anderson, but we should be eternally grateful he doesn’t seem to mind.

It may not be nuanced, but it taps into something mythical — ferocious monsters rising from nowhere to be battled by 21st century swordfighters. And it’s exhilarating.

The dog is, as ever, irresistibly winning.

Love, Simon is a universal story, even if you’re not a gay teenager. The challenge of figuring out who we are and standing comfortably in that identity might begin in high school, but often lasts a lifetime.

Tomb Raider is an often fun and visually compelling action pic, that is also sometimes unintentionally silly, with a great actress leading the whole thing.

The Death of Stalin may be both Iannucci’s darkest and most timely satire yet. More than anything he’s done before, Iannucci has narrowed the distance between slapstick and savagery, prompting us to contemplate — even as we’re cackling — their uncomfortable proximity.

Oyelowo is the one who comes off without a scratch and actually has some quite amusing moments (he has a great, high-pitched scream and solid comedic timing). If only the movie was a better showcase.

It’s also all over the map, in every way possible. It’s visually gorgeous at times but then boring to behold at others, emotionally poignant at times but stunningly cloying at others. It’s also confusing (though to be fair, many might call the book confusing, too.) Mostly, it’s just a frustrating whole comprised of some pretty promising parts.

There is a precise sensation of out-of-body powerlessness and comic absurdity throughout that can only be described as dream-like. And the overall experience is a meditative and powerful one.

This dark, meandering and cliche-ridden bummer starring a trying-hard Jennifer Lawrence tries to reach for a cool and stylish look at contemporary spycraft but often falls victim to cartoon violence and a muddled story. The creators may call it erotic but it’s as erotic as a visit to the dentist.

Rarely has a film conjured such a thick atmosphere of dread and wonder as “Annihilation,” a movie that unfolds, grippingly, as an existential mystery.

A charismatic ensemble cast, a sharp script and a few well-placed twists make Game Night one of the more enjoyable big studio comedies in recent memory.

Loveless is a beautifully shot and elegantly constructed film about an already broken family in a moment of crisis and tragedy. It’s also one that is so bleak and unpleasant to sit through, and sit with afterward, that I could honestly only recommend Loveless with extreme caution, if at all.

It is a fun experiment to be a fly on the wall for this bizarre night — a little dinner theater canapé that’ll make you laugh and think and be grateful (hopefully) that your friends aren’t this kooky. By the end, you’re ready to call it night too.

Nostalgia is not a perfect film but it is moving and sensitive. You leave with your head in the clouds and a new view of your precious stuff.

Adults may find the plot predictable and the pacing a bit wanting, but the dynamic animation and beloved characters help compensate, as does the film’s cheeky self-awareness.

It’s not the quality of the acting that limits Eastwood’s film. It’s a threadbare script that fails to find much of a story to tell behind the headlines.

Unlike many of its more hollow predecessors, Black Panther has real, honest-to-goodness stakes. As the most earnest and big-budget attempt yet of a black superhero film, Black Panther is assured of being an overdue cinematic landmark. But it's also simply ravishing, grand-scale filmmaking.

It’s Vega’s extraordinary performance, full of grace and depth, that keeps A Fantastic Woman in check from becoming something either too campy or too sanctimonious. It’s one that has the power to make an audience really understand and internalize why it is an act of bravery to simply live life as herself, and perhaps even change some minds in the process.

It’s quite a riveting and though-provoking journey, with compelling and nuanced performances all around, and, although it is quite serious, not without moments of levity.

Ball’s command of the camera and his ability to hurtle his character through science-fiction realms has visibly grown through the three movies. For too long The Death Cure stays in one place; it’s best when on the move. And now, it’s probably time for Ball to move on, too.