A fantasy in nearly every sense of the word, Rocketman reaches for and grabs hold of the stars so often that the dazzle occasionally becomes too much to handle.

The Dead Don't Die is a procedurally bland zomcom with little genre personality, playing as if Jarmusch invents a subgenre horror fans haven't been watching for decades.

Godzilla: King Of The Monsters lays many a colossal Kaiju smackdown, but human arcs crumble under the heavy weights of those 'Zilla-sized behemoths they're forced to shoulder.

Ma is a showcase for Octavia Spencer's ability to turn her typecasted traits into utterly disturbing obsession destabilization, but the film's less potent genre punch never lives up to its main character's psychotic allure.

Guy Ritchie fails to mesh his own style with that of the hand-drawn classic, resulting in an Aladdin remake that's an exquisite corpse of CGI nonsense.

Olivia Wilde’s directorial debut bursts outward with neon electricity, encompassing, even if overcooking, the teenage tropes levied by similar films of the past, while also staying deeply rooted in the here and now.

Brightburn doesn't ask if you want blood, but you've damn-well got it in this nastily gruesome superhero hack-n-slash that's a nightmare for parents everywhere.

Something Else promises monsters but delivers more demons of the human experience variety, as this sweet and sincere creature feature is far more romantically heartfelt than expected.

Charlie Says may not reach deep enough into the horrors that birthed the Manson Family, but as an exhibit of pathetically prophetic garble used to dehumanize and control women, it’s attentive and provocative.

As far as introducing us to the live-action world of Pokémon, Detective Pikachu is a critical hit. If only its human characters were as vibrant and interesting.

John Wick: Chapter 3 – Parabellum is a gunsmoke hazy, bloody-knuckle ruthless, impossibly badass Wickian continuation.

Slow, low-key and often beautifully observed, Blue Is the Warmest Colour won't blow your mind, but it will charm your socks off.

Extremely Wicked wobbles between its two best, but unfortunately, contrasting features: Efron’s eerily seductive performance, and the psychological experience of loving a camouflaged monster.

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

Led by a fantastic Michael Keaton, Birdman is a deeply thoughtful and darkly hilarious meta dissection of egotism that satirizes the entertainment business with a compelling visual style that is all its own.

Hellboy feels editorially chopped to bits, tonally disjointed and created from clashing perspectives that make for the type of "dark, gritty" reboot that misunderstands why certain "dark, gritty" reboots end up working.

Coupled with an uninvited human story at its forefront, Burton’s chilling style makes Dumbo nearly unrecognizable.

A Vigilante succeeds not by exploiting torture, but instead shifting focus to Olivia Wilde's painful, so very real performance.

Shazam! proves that the DCEU has a sense of humor, can execute on it and *deliver* an electric punch of uber-fun comic book action, too. Heart, humor and heroics – can I get a hell yeah?

Pet Sematary is proficiently tense, dashingly macabre and soaked in nightmarish tones that thrive on audience screams.

[The film] is really little more than a collage of gag-worthy and violent attempts at comedy.

Adopt A Highway seems as confused as its lead character, wandering around and never quite figuring out what story it wants to tell.

It’s all so very by-the-books, undefined, carbon-copy Conjurverse refurbishment without a guiding voice, which makes for a disappointingly one-note watch that barely raises a hair. At least The Nun has personality – something The Curse of La Llorona’s waterlogged redundancy cannot boast.

Doff’s directorial debut bursts off the screen with eccentric energy and yet, retains a relentless sense of duty to the company its characters keep. It’s effectively touching as a display of camaraderie, equally ridiculous, and a great deal of fun.

[LaBeouf is] one of the few actors capable of turning this protector companion on the page into a layered role.

Though The Highwaymen makes sure it tells the right story about Bonnie and Clyde, it doesn’t win the argument that it tells the better one.

Little Monsters is a must-see horror comedy that proves Lupita Nyong'o should be starring in far more horror movies than she's been offered at this point.

Us is an impressive and astonishingly hair-triggered sophomore feature squarely positioned to decimate genre audiences. It’s purposefully vague, but jam-packed with more memorable genre imagery and inquisitive discussion starters than most braindead by-the-book cinematic offerings beholden to formulaic blueprints.

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.

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.

Happy Death Day 2U is a more ambitious, more entertaining - albeit less horror powered - time-warp sequel that proves Jessica Rothe's blinding talent no matter what dimension she's in.

The Amityville Murders wastes historical reverence on a paint-by-numbers ghost story that relies too heavily on eyesore animated effects.

Replicas lacks vigor in its plot, intelligence in its science, depth in its ethics, and humanity all around. It’s a disaster.

There’s just enough cleverness in Escape Room to enjoy that this bad-horror-movie experience becomes more discouraging than droll.

Bohemian Rhapsody may not totally rock you, but Rami Malek channels the thrilling, show-stopping charisma of the late Queen super singer, ensuring this inappropriately timid biopic is as entertaining as it can possibly be.

Poorly written and with hardly any thrills, The Mule disappointingly depends on the amiability of Eastwood’s character, whose extreme social ineptness is far beyond the redeeming powers of star power.

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.

Once Upon A Deadpool supports the worthiest of causes, but "PG-13 Deadpool 2" is a much duller, hacked-up sequel than this year's *already inflated* R-rated release.

Aquaman is imaginatively ambitious superhero cinema with no rules, which is more positive than negative as Wan's vision is realized like an underwater laser light spectacle that the DCEU so desperately needs right now.

Spider-Man: Into The Spider-Verse is a celebration of limitless creativity that honors comic book runs of the same freeing mentality.

The best ensemble cast of the year live through Steve McQueen’s Widows, an entertaining, intelligent, but altogether familiar rendition of the heist film.

Fantastic Beasts: The Crimes of Grindelwald is two-plus overstuffed hours worth of too many characters fighting for screen time that no enchantment can salvage.

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.

First Man hardly comes close to capturing the overwhelming triumph behind Neil Armstrong’s lunar explorations, though the journey to get there is technologically masterful.

Hellraiser: Judgment is a stuffy police procedural masquerading as a torturous Pinhead franchise entry.

In spite of a momentous directorial debut and performance from Bradley Cooper, Lady Gaga leaves the lasting impression in A Star Is Born, a beautiful production perfectly suited to re-release the superstar as a top-tier performer; she is nothing short of astounding.

Despite a commendably committed performance from Tom Hardy (whether it's a good or bad one will still need further evaluation), Venom's a big, stinking gooey mess of a film.

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.

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.

Michael Moore points all 17 of his fingers in all directions during his latest ferocious, if scrambled film, surprisingly avoiding individual attacks and instead convincingly describing what role we all played in this globally-recognized disaster.

Gareth Evans’ Apostle is The Wicker Man, Safe Haven and Silent Hill thrown into a boil that bubbles over during a ruthless third act that certainly delivers if you have the patience.

The Predator guts and slashes its way to gory sci-fi mediocrity, but is further failed by abysmal pacing that loses characters, subplots and interest along the way.

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.

Scares are often on the generic side (pitch-black doorway, hand reaches out), and while some wild effects work enjoys the zanier side of Hell’s mouth opening up to spit venom across Earth’s surface, it’s missing the masterfully torturous tone that Wan’s universe otherwise aims for.

Let The Corpses Tan is a stunning display of visual seduction and slaughter-first gunplay, if not somewhat distracted by a skeletal script that’s been stripped of all meatiness.

Clinically rigorous and hugely entertaining, The Man from Mo’Wax is a forthright examination of failure and disappointment. There’s not many music documentaries that can touch it.

There are just enough explosions in Mile 22 to keep you awake throughout the almost unbelievable amount of sludge that buries the rest of the film’s trim runtime.

Frankly, it’s heartbreaking to see the Henson name tossed about a project that’s so heartless and so gruesome that the only thing I imagine sticking from it is Phil’s “Silly String.”

The Meg delivers the Statham-versus-giant-shark battle moviegoers are promised, but does so in a way that still manages to be underwhelming.

Spike Lee offers no solution here – his story’s conclusion, in the long run, hardly ends on a positive note – but rather a very, very loud plea that cannot be ignored.

The fuzzy residents of the 100-Acre Wood cutely convert to the real world in Christopher Robin, a mildly entertaining film that'll remind kids and grown-ups alike of the fun that can be had in doing absolutely nothing important.

This time around, Denzel’s “Equalizer” is less of a Robin Hood-like hero for the helpless, and more of a Travis Bickle-like vigilante, shooting his way through a murder caper that has neither the incentive nor the heart of its already forgettable precursor.

Unfriended: Dark Web takes all the most engaging and horrifying techno-horror qualities from Unfriended and wipes the cache disappointingly clean.

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.

Mission: Impossible - Fallout is cocked, locked and ready to blow you away with more than just Henry Cavill's forearms.

The First Purge doubles-down on bloody opposition against true-to-life societal fears, but abandons the subtlety needed to prevent Gerard McMurray’s prequel from becoming anything more than hateful retribution.

Ant-Man And The Wasp is the kind of playtime entertainment suited for Scott Lang's better-when-on-a-team personality, loaded with size-shifty sight gags and lower stakes worth Paul Rudd's ensemble stardom.

This beautiful work pays an immaculate tribute to him, illustrating the legacy of a man whose nature transcended the concepts of knowledge, understanding, age and love. Fifteen years after his death, the heroic and criminally under-appreciated efforts of Fred Rogers are finally being celebrated on the big screen in what may very well be the best documentary of the year.

Jurassic World: Fallen Kingdom is boggled insanity of the highest and most enthralling sci-fi order. As exciting and wondrous a summer blockbuster audiences could ask for. You must suspend reality (EVEN FURTHER) and enter a world where dinosaurs have existed for years in order to attain circumstantial nirvana, but if done correctly, an absolute wealth of ceremonious riches await

The fresh cast seems to have just as much fun as Knoxville and his buddies did making Jackass, but with its half-assed story and unusual presentation of the alluring and advertised stunts, Action Point feels half as genuine.

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.

How does a movie about the galaxy's most dashingly roguish outlaw end up being the safest Star Wars to date?

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.

Get The Gringo is a passable addition to the action genre but it might have been better had the need to keep Gibson’s fan base happy not been so pressing.

Avengers: Infinity War cares a bit too much about being "Part 1" and holding enough development for "Part 2," but MCU fans should see their 10-year buildup expectations met - not exceeded, but met.

Meow, there are laughs to be had here and there throughout Super Troopers 2, but unless you’re really riding the Highway Patrol's wave of manic police work, miss this stale revival and stick to the original.

Truth or Dare lacks the conviction to do anything remotely interesting with its premise, instead falling back on one tired horror cliche after the next.

Rampage is noticeably in trouble once it becomes obvious that the giant virtual gorilla is the most human presence onscreen, and that doesn’t take too long.

The Broken Tower is a wonderful labour of passion and love for this incredible artist and his broken life and it could not have been a more perfect way to encapsulate the incredibly obscure and fantastic artist that is Hart Crane.

While it doesn't top the eccentricity of Wiseau’s cult favorite, Best F(r)iends is written by a man who understands, probably more than anybody, the appeal behind The Room’s creator, and directed by another man who understands not to mess with that connection and whatever ideas come spewing from it.

Wildling may swerve last-minute into a less dense finale, but Bel Powley's performance is worth this fierce and untamed coming-of-self arc that's so exquisitely female-centered.

Blue My Mind is a provocative Swiss origin story about sex, drugs and trials no person can possibly be prepared for. Whether Mia’s transformation is true or a ruse, the proposition of underwater DNA is only bested by Lisa Brühlmann’s execution.

The Endless is a masterful cinematic echo chamber with incomprehensible depth. You will feel, laugh and be forced to address emotions shared with all on-screen personalities.

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.

Wes Anderson continues to exercise his (hopefully) endless imagination in Isle of Dogs, creating another fictional setting bursting with unlikely heroes and another unusually appealing adventure that offers more depth than meets the eye.

Tomb Raider, by merely being an OK video-game film, is a great step in the right direction for the struggling genre. It seems that Uthaug got most of the dreary, expositional stuff out of the way early, so hopefully these oncoming sequels will take a hint and give audiences more of what they want.

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.

Prepare to be turned-ghost pale by horrors of the mind, body and soul, unlike you’ve experienced in quite some time.

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.

Blockers sells itself as a parents-first warpath comedy, but the true treat here is watching a trio of young women navigate sex-comedy narratives that boys have dominated for far too long.

Us And Them might be a little slighter than expected, but Jack Roth's charismatic fire-starter has enough anarchistic anger to appreciate.

John Krasinski orchestrates a loud and ferocious symphony of sonic scares that will assert A Quiet Place as one of the year's most terrorizing films.

Trying to juggle complex theories of metaphysics and cosmology with simple themes of self-acceptance and the deterioration of the “darkness,” A Wrinkle in Time comes off as a disjointed and miscalculated project, rather than a visual and contemplative journey.

The Strangers: Prey At Night is a feature-length homage to Carpenter's best, and albeit familiar in structure, Johannes Roberts' execution strikes with brute ferocity.

Quite simply, it’s impossible to “enjoy” a film that makes you feel even worse about the society we live in – especially when it’s so gobsmackingly unaware itself.

Black Panther proves how representation can rejuvenate even the oldest superhero origin arcs, allowing Marvel a victory that still feels every bit a Ryan Coogler film.

The Ritual may start on familiar footing, but trust in David Bruckner's ability to summon some nasty tension and a third act that horror fans will be talking about all year.

The Cloverfield Paradox is a monster-sized misfire that feels disconnected from the franchise it’s crashing.