Nicolas Cage brilliantly embraces, mocks, and subverts his own legacy in an ingeniously demented action comedy that celebrates one of Hollywood's most uniquely fascinating stars.

Black Widow isn't going to go down in the history books as top-tier Marvel Cinematic Universe content, but it's not too bad at all.

As an experience, Avatar: The Way of Water is second to none. In terms of the storytelling, though, James Cameron has fallen into the exact same pitfalls as he did on the first visit to Pandora.

Kung Fu Panda 2 benefits from an entertaining story, fantastic direction and amazing visuals. It's one of 2011's best animated films.

Although the film flies off the rails in its climax, the rest of Brigsby Bear is an outrageous concept that’s pulled off quite well.

Nocturnal Animals confirms Tom Ford as an essential director, as he gives us two dazzling stories that combine for one powerful movie experience.

Danny Boyle's T2 Trainspotting is a diverting nostalgia exercise, to be sure, but it never really justifies its own existence.

While it doesn’t do much to elevate the genre, Halloween does tick each and every box, which should be more than enough to appease your run of the mill fanboy, but scare off anyone with half a brain.

It is the fairytale you desperately desire and the real-life truth that you detest rolled into a fantasy-charged ride that crashes at the last moment, but doesn't burst your pipe dream of being in the driver seat.

Better Watch Out is a good movie you should watch knowing nothing about, like a spoiler-free Christmas morning.

Unfortunately, Lady Chatterley’s Lover circa 2022 fails to deliver the degree of bodice-ripping drama for which D.H. Lawrence adaptations are well known.

While fans of either Freaky Friday or Friday the 13th might not get enough of what they came for in Freaky, fans of Vaughn will get more than enough to keep them satisfied. He makes Freaky absolutely worth it.

Furious 7 is an in-your-face assault of awesomeness under the guidance of James Wan, who saves a more lax story by orchestrating a metallic ballet of kick-ass proportions.

Patti Cake$ is a feel-good freestyle phenom that heals through artistic passion and shrugs of wackness, indulgent in highs but not shying away from crushing lows.

Guardians Of The Galaxy Vol. 2 is the deranged Marvel disco you’d expect from a filmmaker who wants to push the limits of an otherwise rigid and structured system.

Thankfully, it shines for much of its 161-minute runtime, making for a rare marriage of heart and spectacle that lands perfectly. It also makes room for us to experience grief in all of its complexity, a rare thing in movies, let alone blockbuster superhero franchises. That catharsis alone is worth celebrating in the wake of so much loss.

No Man of God doesn't tell us anything about Ted Bundy we didn't already know, but it's a riveting drama anchored by two phenomenal performances from Luke Kirby and Elijah Wood.

While it may not break new ground, Smile 2 delivers a thrilling sequel that surpasses its predecessor, thanks to Naomi Scott's tour de force performance and Parker Finn's improved direction.

It’s lean, mean, and boasts one hell of a lead performance, so fans of both sci-fi and the thriller in general will find a lot to love about Oxygen.

Worth is a fairly routine biographical political procedural, elevated massively by fantastic performances from Michael Keaton and Stanley Tucci.

Feig, who’s been known to conjure up categorical spoofs (Spy, Bridesmaids), throws up Fincher-like curveballs, each one more disturbing than the last, only to strike out in the ninth.

Blink Twice is a stylish psychological thriller about sexism in the #MeToo era. While its plot may feel familiar, Zoë Kravitz's confident direction and Channing Tatum's surprising performance elevate the film above its occasionally on-the-nose script.

It pulls too many punches while being too keen on delivering others, but Speak No Evil's mighty cast and swath of subtleties seal a fine deal indeed.

Conversational drama (ala Linklater’s Before franchise), plates piled with last-meal dinner fantasies, unparalleled improv – third time is still the charm, but Michael Winterbottom lets the stew boil a bit too long.

Ultimately, The Honor Society feels like a small-scale charm offensive featuring some genuinely engaging characters. If the worst thing audiences can say is that it feels derivative and shows too much love for John Hughes, then so be it. In the end, there may be few surprises on offer in this teen dramedy, but it is still guaranteed to make you smile.

More a sacrifice bunt than a homerun, 'The Kitchen' is a commendable, if tame, addition to the dystopian sci-fi library that gets by on pure heart.

It’s never stuffy – J-Rock guitar solos wail over science research montages – just a bit overlong and too involved in the judicial process.

Keaton’s hazy wading through Kroc’s McDonald’s takeover is a dynamic performance that drives moral emptiness, but remains so poisonously watchable.

Fast Five boasts incredible action scenes that are all varied and equally exciting. The film is full of clean, well choreographed shots that are easy to watch and the cast works great as a whole unit, making the film's running time breeze by.

Spider is a heavy watch, and is guaranteed to haunt you long after you leave the theater.

Understated but no less powerful for it, Causeway will remind audience what Oscar winning actors can do.

Chalamet might start off shaky, but once this splendiferous film is in the swing of things it brings out the classic Dahl magic... and menace.

[Robespierre] and Slate make a formidable, interesting pair together and I do look forward to their next venture, but Landline is a disappointing venture.

There is no denying that this adaptation tries to tackle the central themes, but for some reason, it never really comes together in a way that genuinely satisfies.

This slow burn family drama from writer director Ben Cleary, takes its time tackling some delicate questions. That Swan Song also holds up as a diverting piece of mainstream entertainment, only underlines the importance of Apple and its original content.

The Integrity of Joseph Chambers' is a staggering study of fractured masculinity.

Heche and Oh are both outright brilliant.

Lowlife is a dirt-nasty nonlinear debut for Ryan Prows, sewn together from vengeful, spite-driven tales of urban survival.

While the final result is a film that’s a bit rougher around the edges than it needed to be, Kingdom quite confidently seals the deal through the animus of Noa; a fantastic protagonist brought to life by the young Owen Teague, whose strikingly intelligent motion-capture performance suggests a wisdom for the craft far beyond his years.

Fantastic Beasts is both a slice of magical monster mayhem and severely underwritten storytelling, landing somewhere between “pretty passable” and “zany fun” – but certainly nothing fantastic.

Deadpool 2 is an overstuffed cinematic burrito of raunchy insults, dismembering violence and a "no f#*ks given" attitude that's ready to burst at any second, but somehow holds together bite after enjoyable bite.

There isn’t a moment in Mary Poppins Returns that I would put above the 1964 classic, but there also isn’t one worth throwing away in this magical, if formulaic production.

The film is sumptuously layered with a number of intersecting themes – the restrictions placed upon us by ourselves, and by society; the complexities of communicating with others; the nature of identity; the contrast of the social roles played by men and women; the vast difference between physical and emotional intimacy; the ebb and flow of the human experience.

Rogue One makes up for a shaky first act by punching into overdrive for an outstanding third act battle sequence that overwhelms in scale and intensity.

A United Kingdom is well-intentioned, with impassioned performances from Oyelowo and Pike, but it's executed as drily and inoffensively as so many middling Brit period dramas.

In an audacious departure which marks a new level of maturity, Edgar Wright invites audiences to strap in and enjoy his latest cinematic offering.

Ostensibly a tragic tale of out-of-control youth, White Girl collapses under its lofty ambitions, boiling down to little more than a retread of other, better films.

Olivia Colman goes with this franchise like bread and marmalade, but the 'Paddington' charm of yore mostly goes out the window.

Staying Vertical feels weighed down when it should be light, and ironic when it should be earnest. For better and worse, the film terrorizes conventional cinema without providing any good alternative.

Ultimately, Stars At Noon provides an interesting look into an important time in history for Nicaragua from the perspective of a French director who has no direct involvement with the reality she is representing. Unfortunately, the conventionally attractive hetero-normative romance between the leads, and the espionage shenanigans they get up to, are wildly uninteresting compared to the gravitas of everything that is going on in the background.

Ouija: Origin Of Evil would have been better than Ouija with even a quarter of the screams evoked, which makes the tremendous jump in quality quite refreshing despite derivative storytelling.

Overall, this isn’t a bad movie, just one that feels at odds with itself. Despite its flaws though, American Made is a fun enough ride and features yet another winsome Cruise performance.

Four powerhouse performances cannot quite make Richard Linklater's occasionally moving dramedy, Last Flag Flying, into more than a minor war movie.

Beauty And The Beast lacks some of the astonishing visual prowess of previous Disney live-action remakes, but still sings and dances with enjoyable style.

Scott’s latest is a thrill-ride that blasts through celestial carnage, while building a bigger Alien world that might not be 100% necessary. Out of all the films in the franchise, Alien: Covenant has the least stand-alone potential – but dammit if it’s not a wild, warp-speed-killing-machine adventure.

All in all, though it may not be totally awesome, The LEGO Movie 2: The Second Part is still fun, which is what it should be, and you’ll still leave with a song stuck in your head. Maybe even two.

Powell's screen presence is undeniable. Unfortunately, so is the lethal lack of confidence with which 'Twisters' tends to present itself.

A concrete horror flick that burns with consequence, ignited by strong characters who are far more tested in their experiences than anyone of similar age. Bloody, emotional and visualized with a damning spirit – what an outspoken genre manipulation for first-timer Michael O’Shea.

The Good Nurse may focus on someone believed to be one of the most prolific serial killers in history, but the smartest decision the dramatic thriller makes is shying away from the sensationalism of harrowing real-life events.

Carving off a slice and stepping things up a notch, Jonathan Majors delivers another formidable performance in 'Magazine Dreams.' Packing on the pounds and dialing that drama up to 10, audiences will finally get what makes this actor so special.

Even its mistakes hardly qualify as mistakes, and the intelligence with which 'Transformers One' carries itself as an IP film easily cements it as an instant classic.

Piled high with plot twists and packed full of peerless performances, Sharper brings together Sebastian Stan, Julianne Moore, and John Lithgow in a brooding long con thriller from Apple. Delivering something fresh from the streaming service, which continues to champion originality without limits.

With skin-crawling scenes and a surprising discussion about the control of women's bodies, 'The First Omen' finds a new angle to explore the well-established franchise. The prequel doesn't always manage the tricky balance between reverence to the original and new ideas. Still, there's a lot to love, both for newcomers and returning fans.

In terms of performance, Freeman generates about all the emotion this nearly one-man show puts out. At first, Andy’s mission is protection and self-reservation, but Freeman captures the process of shifting priorities marvelously, making Andy’s transition from worried improviser to adapted martyr all the more pleasing to experience.

The Autopsy of Jane Doe is an age-old story of family horror that benefits from an approach focused on dark whimsy instead of typical genre jumps.

While its dedication to fan service occasionally holds it back, 'Alien: Romulus' is still a thrilling addition to the franchise, thanks to director Fede Álvarez's dedication to visceral practical effects and new twists to the canon.

Gretel & Hansel is a full course meal when it comes to cinematography and production design, but the sleepy, hollow narrative pacing is just too stogy to overcome.

In one of the most optimistic indie films so far this year, Alex Trewhitt delivers a staggering central performance, turning this teen drama into something special.

This plucky sequel is carried on the slender shoulders of Millie Bobby Brown, who proves once and for all that she has the talent to bring in some box office. She might be a Netflix sensation, but always looks supremely comfortable on camera carving out another entry in this engaging franchise wannabe.

Your Lucky Day finds Angus Cloud and the rest of the cast on sparkling form in a twisting, turning, and altogether unpredictably thrilling time.

Captain Marvel is a recorded mixtape of familiar MCU beats that sets Carol Danvers up for success, but as a period standalone, struggles to be anything we haven't yet seen from superhero cinema.

While the stakes don’t feel high, Hamm’s charismatic turn and the consistent stream of high-quality scene partners makes the end product an engaging chuckle-fest of a movie.

The spirit of Stuart Gordon is alive and well in Suitable Flesh, with Joe Lynch picking up the baton and delivering both an ode to his inspiration and a riotous horror comedy in its own right.

You'll want to call Slash a "romantic comedy," but that wouldn't do justice to all the social norm blurring that's more about important relationships than a goofy love story.

Luca Guadagnino’s Suspiria will divide fans of the original and those excited for something fresh as a testament to long-form (2+ hour) filmmaking that holds together impressively well.

Though it runs into a couple of bumps along the way, Between Us is a well observed and sensitive indie drama that'll be familiar to anyone struggling with the onset of maturity.

XX is a mundane horror anthology at best, and a slow-burn experience that never reaches a boil at its worst.

Ready Or Not is an exquisite horror comedy heavy on familial dysfunction, heavier on gameplaying brutality, and always a reminder that Samara Weaving deserves to be the biggest of megastars.

For fans of Presley himself, this is the story you’ve been waiting for, and with “Unchained Melody” in your head, you’ll leave the theatre with more respect for Presley, for those you love, and for anyone who has ever been burnt by the hand that should have shown them comfort.

A beautifully shot film that doesn't quite conquer the big screen.

Rarely is a performance so strong that it’s able to carry an entire production, but – thankfully for John Madden – Chastain wills Miss Sloane into relevance through nothing but sophistication, spunk and champion grit.

While Ridley Scott delivers spectacular gladiatorial action and Denzel Washington steals every scene, 'Gladiator 2's derivative plot and inability to escape its predecessor's shadow prevent it from achieving the same legendary status as the original.

Gerard Butler's latest effort reveals a dramatic depth beneath the action man veneer. Brooding, bold and effortlessly engaging, Greenland breaks the mould.

Yorgos Lanthimos' Kinds of Kindness is a unique, thought-provoking anthology exploring human kindness's dark side. With stellar performances, the film's surreal and unsettling narrative will captivate long-term fans but will alienate some viewers.

Ready Player One isn’t slick enough a commentary worth getting riled up about or distracting enough to hide glaring structural issues underneath a barrage of “HEY I KNOW THEM!” cameos like dangling keys in front of a dog.

In A Valley Of Violence is built on intense shootouts, vicious criminals, crooked lawmen and everything that makes Westerns exciting, but its entertainment value comes from a tonal brew of all the right tonally-combative spices.

The Apprentice forgoes subtlety in favor of skewering its subject and eventually reveals that deep down this biopic was a horror movie all along.

Thrilling sci-fi exploration that ponders the melancholic state of self-worth, existence, and what it truly means to be alive.

Anna And The Apocalypse is an enthusiastic coming-of-age musical that cares just as much about bellowed heart and soul as it does keeping horror fans entertained.

Piece by Piece, much like its decorated subject, blows right past refusing to play by the rules and straight up doesn't acknowledge them, and it's all the best for it.

The Electrical Life of Louis Wain is a biopic every bit as off-kilter and bizarre as the protagonist, but despite all of the whimsy and eccentricities, it finds itself missing a spark.

Beneath this movie’s conventions are some interesting gender politics that perhaps could have been made more apparent, but to its credit, are pleasantly subtle.

Despite its undoubted ambition and an excellent central performance from Rami Malek, Buster’s Mal Heart slips into the traps that so often face thrillers of its type.

Atomic Blonde strikes a deafening blow thanks to enjoyable characters, furious fight-play and Charlize Theron’s brand of screen command. She’s always in control, whether toying with feminine wilds or slugging another glass of Stoli on the rocks.

There’s a brooding tonal growth that Pesce is able to establish, as he unravels a film that becomes more horrific with each passing second.

Only M. Night Shyamalan could make an apocalypse film that has audiences rooting for the end of the world, if only to bring the running time of 'Knock at the Cabin' to a merciful end.

The obvious political agenda behind Before the Flood may turn off those who still maintain that climate change is a myth, but the evidence presented in the film should at least cause open-minded viewers to rethink their position on the issue.

Never does Soderbergh’s projection strike me as B-movieness or popcorn entertainment. His mix of arthouse iPhone Hollywood and downplayed character accentuation (by way of misrepresented screen shrinkage) makes for a thriller that fails to spike excitement via a villain who’s always right where he has to be.