Road to Revenge is everything you could want from a rough-and-tumble, tough-as-nails action movie. 'Sisu' was even more of it, but only by a matter of degrees.

Even as all the comedy to be found within this setup had already run dry a full movie ago, The Family Plan 2 keeps going back to the well in the desperate hope that there are still a few drops left.

The romantic part of Johnson’s rom-com barely reaches a low simmer, but the comedy part burns a little brighter.

There hasn’t been a pre-planned 'Part Two' this disappointing since the second half of Andy Muschietti’s 'It.' At least nobody projectile vomits on Jeff Goldblum to the tune of Juice Newton’s 'Angel of the Morning.' Then again, that would have been more memorable.

A sweet, immersive glimpse at two of our futures, and it’s clear-eyed about which aspects of those worlds we want to avoid, and which ones we have to pursue.

A slapdash effort from an otherwise great artist.

Come See Me in the Good Light is a tender expression of love conquering all despite the burden of needing to go against the wind.

Challenging the foundation of a “law and order” culture is not easy, but hopefully The Alabama Solution shows that mass incarceration is not the way to build a strong nation, and that the real fight is between the haves and the have-nots, those in power against the powerless.

Some movies are movies. Other movies are cocoa. A Merry Little Ex-Mas is the latter.

The Carpenter’s Son' is a Biblical horror movie with interesting ideas. They just don’t seem interesting because the perspective is cockeyed, which nullifies the film’s ability to trouble our hearts.

The fact that it's released by Paramount plays like a punchline, and it’s unclear who’s getting punched.

It’s a magic act without the storytelling, so every moment is the prestige, and none of it feels prestigious. It’s goofy and shallow and delightful and in a couple days I’ll forget I ever saw it.

If In Your Dreams was too entertaining it would contradict its own message about the perils of escapism. But it might not be entertaining enough to make audiences want to stay until the message comes through. Call it a design flaw.

This is wickedly exciting filmmaking. The rare, flashy studio blockbuster that doesn’t read like a laundry list of creative compromises, where the money went to telling a story about fascinating characters and putting them in impossible, gorgeous, and horrifically violent situations.

It takes awhile to get to why Lynsey is so passionate about her work, but the film eventually becomes real, raw and deeply human. It’s more of an exploration of why women aren’t typically known for war photojournalism, but Lynsey Addario hopes to change that stereotype for future generations.

Queens of the Dead may not be a timeless classic and it might not be a game changer for the genre, but more than any other recent zombie flick, it’s likely to play the midnight circuit for years. Not because of the camp. Not because of the unlimited cosplay opportunities. But because it fosters genuine good will from the audience. We love these characters, and we want them to stick around. Zomb-ay, you stay.

A sensual, ingenious update of Ibsen’s classic play, honoring the grand theatrical tradition and transforming it into new, ecstatic cinema.

Yes, the movie looks scary. So scary it could almost be confused for a scary movie. Almost. But only if you’re not paying attention, and miss how shallow, derivative and underwritten it is.

Look, do you want to see a man made out of chainsaws or not?

It’s probably better to have a mixed-bag remake with real thought put into it than a superficial thriller retread of tired yuppie phobias. 'The Hand That Rocks the Cradle' may not rock, but hey, let’s give it a hand anyway.

It’s one of the great horror sequels, for about an hour. Then it’s a cautionary tale about how not to make a horror sequel, for about an hour.

Set aside for a moment that the movie is literally hard to look at: it’s also tonally chaotic, and repeatedly trips over its own unspeakable horrors, before falling face-first into bowls of insufferable sugar.

With extraordinary performances, Hamnet not only tackles grief but also explores single parenting, the lustful love that turns sour due to absence, and what it takes to revive love in its original form.

In addition to creating a brilliantly engaging narrative, Berger’s sense of cinematic style is enhanced all the way from his production and costume design to the extreme close ups that have assisted in defining his cinematic style.

It’s a playground for the filmmakers and audience alike, a fantastical space where anything can happen, whether it’s silly or badass or both.

Lopez, while certainly dancing all the right steps, is only ever a composite of a movie star who feels trapped in a surprisingly stiff production. She deserves better than what the film gives her, but there’s never a moment when she gets it.

It’s a great sports movie about the urge to be great at sports, and it’s one of the smartest movies the genre has produced in a long time.

The film aspires to be yet another eat-the-rich parable in our time of oligarchs, and while there’s no rule that these stories need to be dark comedies, they should at least aspire to have some kind of personality.