It’s often thrilling, occasionally improbable, sometimes confounding, but like its director, Ad Astra is never bound by the gravitational pull of the ordinary. Strap in.

Featuring powerhouse performances by Scarlett Johansson and Adam Driver, Noah Baumbach's divorce drama is a bruising tour-de-force.

It’s frenetic, brashly executed and so full of shooting, you’ll stagger away with tinnitus.

As games go, this one’s a little too easy to outfox, but it’s worth playing if you need a quick diversion, or if the chess moves of The Favourite felt overly vicious—Ready or Not is pure checkers.

Though its come-on is playful, this documentary sinks into some swampy subjects, including racism, secret biowarfare and political assassination.

The idea that we would want even a few of these draggy, didactic scenes (the poorly paced French plantation sequence plays better with self-satisfied critics than with audiences) may remind you of one of Marlon Brando’s immortal lines, the one about an errand boy, sent by grocery clerks to collect a bill.

This animated sequel is tighter, funnier and sillier than its predecessor. It’s worth chicking out.

Generation "Home Alone", now grown up and maybe with children of its own, will be amused in the moment, but the film’s heart isn’t as subversive as it wants us to believe.

It’s defiantly cheesy and very hard to resist.

“Stories heal, stories hurt,” we hear in voiceover, and while any horror film would unavoidably literalize such a claim, this one can’t hold a candle to the power of the page, as read by a thirty, ghoulish mind.

When featherweight Domhnall Gleeson, as an intense angel of death, is your feminist Irish mob movie’s most interesting asset, you need to find Hollywood’s witness-protection program immediately.

Between epic bouts of bickering, Dwayne Johnson and Jason Statham save the world in an offshoot that gets the job done.

While it lacks the emotional intensity of the duo’s Oscar-nominated The Square—a rousing 2013 look at Egypt’s Arab Spring—The Great Hack still feels of a piece, inviting viewers to contemplate the power and irreversibility of their online footprint.

Rooted in an especially lawless moment of Australia's past, Jennifer Kent's impressive follow-up to The Babadook finds a new kind of scary.

It’s an enjoyable primer for audiences who haven’t seen any of her films, while those more familiar with her work will take great pleasure in listening to her musings.

‘Tell It to the Bees’ is a poignant story of a romance that’s crushed before it can take wing, even if it lacks the messiness of Fiona Shaw’s source novel.

A horror movie that should have been a lot more fun.

Always effortful and desperate to impress, The Lion King may serve as a virtual substitute for going to the zoo (don’t slide down the Black Mirror cynicism of that idea), but let’s hope it never replaces such outings, nor its 1994 forebear, a passport to something far more sublime.

It’s all watchable enough but hardly a giant leap for documentary making.

Clearly surge pricing also applies to jokes, because it’s mostly about as funny as a traffic jam.

The storytelling never lacks for sincerity and quiet power. It’s a cry from the heart with a courageous message.

Awkward teenage energy is the secret weapon in Marvel's post-Avengers palate cleanser, one that strains to keep things light and fun.

When the doll has more vitality than the movie around it, there's a problem.

As an object lesson in leadership, Maiden is compelling, but its flashbacks to a less enlightened time in sport are the biggest showstoppers – and jaw-droppers.

Not helping matters is dead-eyed snark source Aubrey Plaza, somehow less expressive than the doll itself (creepily voiced by Mark Hamill).

A savage yet evolved slice of Swedish folk-horror, Ari Aster's hallucinatory follow-up to Hereditary proves him a horror director with no peer.

Occasionally too busy and loose with its logical rigor, Toy Story 4 doesn’t quite connect all the dots. Still, the film earns a distinct spot in the chain, foregrounding Bob Pauley’s pristinely lit production design, one that showcases a kaleidoscopic carnival and a dusty antique shop swarming with hilariously nightmarish ventriloquist dummies.

Scorsese’s doc appears like one thing but sounds like another. It totally gets it.