Loving has Jeff Nichols' trademarks but it lacks the nuanced storytelling that made his previous films so successful.

It’s broody and disciplined, soaked in the pungent style of foreign auteurs who molded Scorsese’s own love of film – yet overburdened by a downward spiral lacking fire and unforgiving features.

Pinocchio is more than a movie about a wooden boy’s adventures. It’s a movie, to quote Sebastian, about “imperfect sons and imperfect fathers,” the futility and impotence of fascism, and the transcendent power of love above everything else. While a lesser movie would have been crushed by the weight of these themes, Pinocchio manages to carry them all with relative ease.

Dune: Part Two sets foot back on Arrakis with an ambitious fire in its eye, overcoming its unsteady but understandable hubris with cinematography and production value that comes utterly alive.

While 'Furiosa: A Mad Max Saga' is highly entertaining, it fails to capture the chrome-painted perfection of 'Mad Max: Fury Road.' Instead, we end up with a bloated epic that focuses too much on world building and not enough on its titular character.

Hustlers is intoxicating, surreal and a party you never want to end. It also helps when you have great actresses. Everyone here dances off screen and into our hearts. That goes for Lopez in particular.

Fences is old-school Americana that's driven by dynamite performances all around, albeit a bit stuffy in nature.

A pointed puzzle-box that never takes its finger off its stormy emotions, 'Conclave' is as softly sensational as it is sweepingly satisfying.

Overall, Nude Tuesday is a creative leap that mostly lands. The absurdist comedy can be hit or miss, but the ingenuity of the storytelling, respectful treatment of all kinds of bodies, and talent of the actors on screen make it gel together.

The doc is a great showcase for the pair’s qualities.

If anyone ever thinks of Michael J. Fox as anything other than a legend after this film, they need to re-evaluate their priorities. 'Still: A Michael J. Fox Movie' documents the life of a survivor, who is far from done fighting.

A film which shows how cinema can bring people together, bond generations over a common interest and capture something timeless along the way.

Beyond the perfectly poised storytelling, awe-inspiring visuals and pulsing soundtrack, Maverick also possesses another important intangible. It brings out a feeling that’s arguably been missing from the multiplex for too long, where you will literally be able to hear a pin drop.

Elegant and entrapping, muddy and magnificent, Monos is a thrilling, if ambiguous endeavor of guerilla warfare, human nature, and adolescent anarchy.

If you believe horror shines blackest when hardest to decipher, 2017’s horror crop may never best this effort. For me, it’s a Mortal Kombat finisher that punches through your ribcage with heart-in-hand – but the fight itself is a bit too talkative.

The exorbitant running time may end up testing the patience of many, but 'John Wick: Chapter 4' does exactly what the franchise does best, but somehow on an even grander and more gripping scale.

For sheer craftsmanship and watchability alone, Amanda Knox is a must-see offering on Netflix; for its exposure of the workings of justice systems and media culture, it’s an essential piece of work worth sharing and discussing.

The Card Counter marks another unique cinematic contribution from a masterful filmmaker.

I, Daniel Blake is a dignified film containing moments of hilarity and genuine heartbreak. It's a movie dripping with social relevance and shines a light on the red tape bureaucracy that cripples those that are in most need of help.

Despite gorgeous cinematography and a strong cast, The Lost City of Z is a shallow and overly romantic film that falls into the trap of hero worship.

Endgame is the superhero equivalent to an original cast revival in a long-running Broadway show, and often has the same hair-raising effect.

Its abstract foundation is incredibly fertile creative ground, but 'The People's Joker's nuclear, self-indulgent execution is the downfall to its buzzworthy rise.

Driven by Stanfield’s performance, an intelligent story, and an even more impressive structure, this film is as funny as it is bizarre, and as bizarre as it is clever. It succeeds enough early on that Riley trusts he’ll hold everyone’s attention as he jumps off the deep end.

While watching 1917, there’s a sense that you’re waiting for a fresh take or an interesting point that never comes. Audiences don’t need this movie to tell them that war is hell. But for those striving to get closer to experiencing that hell, Deakins and Mendes achieve something few war films before them have. They just needed a grander reason for doing so.

While horrifying on the outside, Fargeat’s latest hit tells a heartbreaking story on the inside. For that, it’s a must-see this year.

If your script is good enough to pull Steven Soderbergh from “retirement,” color me intrigued. Such is true of Logan Lucky. An Ocean’s 7-11 hootenanny with Southern charm and Coen sensibilities.

Robert Eggers' reimagining of the 1922 classic "Nosferatu" delivers a visually striking but uneven Gothic horror experience, elevated by Lily-Rose Depp's captivating performance and stunning second half.

The awe-inspiring strength of 'Fancy Dance' is as softly sensational as it is proudly singular, and Gladstone is breathtaking throughout; Indigenous voices are a necessity to filmmaking.

Till is a moving story of grief that America needs to remember and will likely bring you to tears by the last scene, if not sooner, as it did this reviewer.

Jordan Peele mixes and matches elements taken from big blockbusters and obscure subgenres alike to create a heart-racing nightmare that rains abominable filth down on its audience.

Thanks to its meticulous Craftsmanship, unsettling narrative, and Nicolas Cage's most harrowing role yet, 'Longlegs' is a masterclass in psychological horror that lingers long after the credits roll.

Self-assured, brimming with conviction and intellectually demanding - Women Talking is what cinema should be about.

As people have been forced to spend extended periods away from loved ones, often in less-than-ideal circumstances, God’s Country is certain to hit home hard.

Personal Shopper is enigmatic and inventive. This is daring and rule-bending filmmaking at a minimalist scale, a personal, contemplative horror movie, stripped of observable fright but full of unease.

Clifton Collins Jr. gives an incredible performance in Jockey, which manages to both lean into the tropes of the sports drama while still painting them in an entirely new light.

Win It All is another Swanberg special that hits upon the most human aspects of a gambler's curse, so perfect for Jake Johnson's leading take.

While 'Presence' may not deliver traditional horror scares, Soderbergh's innovative ghost's-eye-view approach and strong performances create an intriguing supernatural drama that prioritizes technical brilliance over frights.

Evolution is undeniably beautiful, but it's a small-scale story which ignores a larger world that needs far more exploration.

Relic is the latest possession movie to peel back its characters slowly, layer by fragile layer, getting at the secrets that lie just below the surface.

The Beguiled is a deliciously dangerous period thriller that refuses to let a man's privilege go unchecked like the Hollywood standard.

Detroit is, for lack of a better term, a pornographic echo chamber of resentment. Trying to put out a fire with ten more tankers full of gasoline.

The Edge Of Seventeen boasts an emotional journey filled with wit, humor and heart, resting easy on the back of Hailee Steinfeld's dynamite performance.

It’s not just one of the best superhero movies ever – it’s a damn-fine cinematic representation of the human condition in all its agonizing forms.

The Disaster artist is obscurest hilarity set to a filmmaker's struggle, all linked to James Franco's transformative performance as the mythical Tommy Wiseau.

Lady Macbeth begins as a biting tale of female empowerment but slowly reveals itself to be something much crueler. Period pieces rarely feel this contemporary.

Dolemite Is My Name belongs to Murphy.

Guardians Of The Galaxy is everything we go to the movies for, as Gunn is able to build an intricate intergalactic world full of multiple races, lush scenery, and maximum escapism through action, romance, comedy, and interstellar drama.

The Blind Man Who Did Not Want to See Titanic is unlike any rom-com ever made, being blessedly free from formula, devoid of meet-cute dynamics, and disarmingly tragic in its set-up. That being said, it is also the most inspired and inspiring piece of bittersweet comedy romance ever made, defined by unwavering optimism and unrivaled hope in the face of God-given adversity.

Night School exposes the individualism of poverty and the power that education can bring to the powerless.

A Monster Calls gets off to a rocky start, but once Neeson's talking tree starts spouting tales of wisdom, everything tightens as the tears start flowing.

All Quiet On The Western Front is nonetheless a near-flawless war movie that ticks all the boxes of what the genre demands, while maintaining the source material’s subversive anti-war approach. It’s visually stunning despite holding no punches in its portrayal of war’s violent, dirty, and gory nature. Above all, Berger delivers a chilling cinematic experience that should become mandatory viewing for everyone in today’s social climate.

Talk to Me is an aculmination of years worth viral content creation, mixed in with Australian storytelling. Together, it transformed a comedic short premise into something that gets your heart racing.

Wonder Woman is a gorgeous, powerful display of epic storytelling that makes me wish this was Gadot’s first chance to play Diana Prince. It’s the roaring introduction she deserves, and a hopeful shift in DC culture that hints at what’s about to come.

Ultimately, Something in the Dirt disappoints for a multitude of reasons, not least of which is the optimism that slowly dissipates as things progress. To call this an ambitious misfire is being polite, as the investment required going in never fully collates with the level of satisfaction audiences expect coming out.

With Squaring The Circle, Anton Corbijn continues mining the musical past to celebrate his unsung heroes. In this case, he uses the documentary to explore artwork pioneers Hipgnosis, who made history with their innovative approach to album cover design.

Stronger complicates the notion of the public hero in its heartfelt telling of Boston marathon bombing survivor Jeff Bauman's story, with terrific performances from Jake Gyllenhaal and Tatiana Maslany.

Your toleration of mother! will be determined by movie-going patience. Aronofsky is painting with some blistering broad strokes, but they’re just that – broad and undefined.

Psychonauts, the Forgotten Children is bizarre, imaginative and beautiful, but it's also crying out for a stronger narrative.

The larger-than-life feelings Pearl experiences are brought to life around her through the technicolor-inspired cinematography and shot composition, making for a beautiful, sometimes moving, and delightfully unhinged journey.

Delving into the intricacies of friendships, the way a lie can spiral out of control and the dangers of mixing politics and business, Norman: The Moderate Rise And Tragic Fall Of A New York Fixer is a compellingly complex and playful take on the political thriller.

I Don't Feel At Home In This World Anymore is a winning combination of anger, frustration and stinging social satire.

I can’t deny that Eugène Green is a talented, idiosyncratic director and his Son of Joseph has many visual and intellectual qualities to boast about. But it’s a film I appreciated much more than I actually enjoyed.

John Wick: Chapter 2 tempts fate with a 122-minute running time, but the "Gun Fu" is back and it's just as deathly awesome as it was in the first film.

Forget such questions of whether 'Civil War' is good or bad, fresh or rotten, and any other gradation scale that comes to mind. This film is mandatory.

Blindspotting is a force to be reckoned with in terms of experience, anger and boiled frustrations that beg anyone watching to lead the charge for change.

Debuts shouldn’t be this tense or composed, yet Super Dark Times is an instantaneous must-see.

It's not going to be for everyone, but if you've got the stomach for it, then When Evil Lurks is easily among the year's most gruesome, unrelenting, and unforgettable horrors.

When it counts, The LEGO Batman Movie delivers everything you’d want from such a farcical superhero creation.

Okja is a wild, tender tale of wonderment and friendship, delightful but still with smacks of vile consumerism darkness.

National Bird is a scathing and clearly delineated expose on America’s use of drone warfare and the effects it has on both the victims of the attacks and the crews operating the aircraft.

They Cloned Tyrone is comfortably Netflix's most original blockbuster of the year, and being exactly the movie you think it is and something completely unexpected at the exact same time is easily its biggest strength.

The measured performances make Southside With You feel sincere and rooted in human emotion rather than a wink-winky account of an important day in American history.

Bottoms is never afraid to have fun, even when it comes at the cost of a reasonable plot or political correctness. It's an hysterical teen movie featuring two of the best talents of this generation who have nailed the balance between the ridiculous and the important.

Bones feels like a culmination of what Luca does best, bringing in the body horror of Suspiria with the tenderness of Call Me By Your Name, creating a haunting tale of young love and the compromises of self-preservation. Based on the novel by Camille DeAngelis, it's a wholly original entry in the young adult fantasy genre and some of Guadagnino's strongest work to date.

Dune might not be for everyone; but if you strap in, immerse yourself in the world and go along for the ride, Denis Villenueve delivers a blockbuster sci-fi epic that's regularly jaw-dropping.

Thelma doesn't exactly tell a unique story, but Joachim Trier's vision is so strong you'll barely even notice.

Little Sister is a spunky family drama that does "indie" right.

With only a slightly underwhelming plot among its infractions, Teenage Mutant Ninja Turtles: Mutant Mayhem flies high on some gorgeously evocative presentation and an untouchably charming take on the eponymous reptiles.

Anna Kendrick's directorial debut offers a refreshing twist on a tried and true formula by contextualizing a serial killer's wrath within the crueler misogynistic traditions that enable it.

While Hidden Figures hits many of the beats one would expect, Melfi’s film strikes a delicate balance of injecting levity within the character-based historical drama that propels the story forward.

Plan C is an emotional journey into American culture, focused solely on one hot topic.

Fresh takes, classic gags, and excellent performances from its leads elevate an occasionally clunky and very packed script into something well worth watching.

Dolan can officially be deemed as one of horror’s most intriguing and singular new talents, thanks to a debut that’s definitely worth seeking out for horror aficionados who prefer having something to think about and chew on once the lights come up, as opposed to the hollow adrenaline rush of splashy set pieces that don’t have anything to say, and find themselves forgotten in an instant.

She Said is a movie that checks all the marks regarding the treatment a matter of this kind warrants, despite a number of shortcomings that affect its cinematic value.

With great warmth, empathy, and delightful use of drawings and digital video clips, Inbetween Girl creates a coming-of-age story that anyone can relate to but with a refreshing perspective.

This is a very funny, perfectly scored...exciting, albeit overlong exercise in pushing MCU boundaries to their franchise breaking point.

Expanded from a short that Dack wrote and directed previously, this mini-budget indie effort slowly draws audiences in through vicarious observation.

Most Beautiful Island summons viewers into its seductive web, lashing out with teeth-grinding tension when you least expect it.

Fair Play is a taut two-hander featuring Phoebe Dynevor and Alden Ehrenreich on scenery-chewing form, and benefits from an understated Eddie Marsan as trading supremo Campbell.

Queen Of Katwe is pretty typical Disney magic, but dynamic performances add a little more oomph to Phiona Mutesi's amazing true story.

Its borderline-necessary messaging doesn't render it completely invulnerable, but should Pixar be up to it, they've earned an 'Inside Out 3'.

As a blockbuster, The Fall Guy flies. As an ode to stuntmen, it soars. But as a movie that simply loves being a movie, it towers quite magnificently above most.

Jordan’s clear vision for Creed III is hindered by a couple of melodramatic crutches that are typical of the genre, and constant, incredibly distracting and tacky product placements throughout. Small faults in what is otherwise a self-assured, confident, and refreshingly vulnerable sports epic. The actor and filmmaker is dead serious about his craft, and it’s great to watch.

A brightly colored extravaganza, 'Wicked' is a monumental feat in the stage-to-screen lineage, with stunning sets, sharp choreography, and delightful musical numbers. Cynthia Erivo and Ariana Grande gracefully lead the film to great heights, and Jon M. Chu's tasteful direction raises hopes for 'Part Two.'

Directorial debuts are rarely this poised, devastating or dangerous.

Its methods may be unconventional, but Joel Potrykus never loses grip of the slippery strangeness.

The Killing of a Sacred Deer envelops you in its strange, disturbing world with the manipulative skill of a true surrealist master.

Vapid and meaningless, the consumer-friendly 'Air' tells a revolutionary story in the blandest, slickest way possible.