Unfortunately, it’s not a great film. But it’s an enjoyable one, if you like fine wine, beautiful countrysides, and a little frisson of flirtation.

We rarely get to see Sandler do this kind of straight-faced comedy, and he's so good in The Meyerowitz Stories that he deserves the chance to do more.

Okja isn’t perfect; it falls down when the absurd and the serious ricochet back and forth between scenes, making it hard to track with the film’s tone. But it’s easily forgivable; this is a big, ambitious movie, and when it works, it is ridiculously fun.

It trusts its audience, adult and child alike, to feel its theme, to knit themselves into its multigenerational fabric.

Private Life is an accessible and complex portrait of two people whose ardent shared desire for a child leads them in some unconventional directions, and it’s a joy to watch whether or not you’ve shared their experience.

In the end, I Think We’re Alone Now isn’t very interested in constructing a mythology or exploring the apocalypse itself. It’s more of a relationship drama, one that works as a showcase for two great performances against a post-apocalyptic backdrop that ups the stakes

Careening from office comedy to something like horror, Sorry to Bother You is weird and funny and unsettling, and not quite like anything I’ve seen before.

In The Tale, Fox takes an experience that’s far, far too common — and newly visible in American culture — and mines it for its emotional heft, turning it into an interrogation of how those who’ve experienced assault and abuse go on to navigate their lives. It is a story of a woman taking her life back, nested in a film serving the same purpose.

The Death of Stalin is Iannucci’s most complex and almost nihilistic rendering of what politics is: A team of bumbling and weak-minded people who lack any real conviction other than a desire for power and position.

The greatest thing about The Final Year, and the part that needs repeating over and over in our abrasive, attention-seeking political age, is that no matter what your method for bettering the world is, the real work is usually done quietly, in ways that defy pomp and fanfare.

Craig Gillespie’s take on Tonya’s story, the hilarious and gut-punching I, Tonya, is a nearly pitch-perfect black comedy that distills the sensational story into two potent insights very relevant to 2017. It’s a movie about class, and it’s a movie about the nature of truth. And somehow it’s also a supremely entertaining sports movie.

It's nowhere near the best movie of its type, but it's a frequently audacious, stunningly beautiful ride through a four-color universe.