Zack Snyder’s Justice League is excessive and overlong to the point that trimming anywhere up to an hour would have elevated it significantly, but it’s still a triumph of circumstance, style and execution.

There’s too much that’s intriguing in this film to ignore it, and although the third act shows signs of strain, the first two acts more than justify the film’s existence.

Ang Lee’s depiction of life after war (or on leave) is a respectful one not without derivative roadbumps, but honest in appeal.

Almost Christmas doesn't set a new standard for family holiday comedies, but its cast and a handful of outrageously funny moments make it worthwhile for fans of the genre.

Operation Fortune: Ruse de Guerre delivers exactly what you'd expect from an R-rated Guy Ritchie spy caper with Jason Statham in the lead role, with the offbeat and energetic espionage adventure worthy of at least a sequel or two.

Anyone going into this film should be aware it is no intellectual exercise. Any capacity for rational thought, beyond guns and ammo, should be left outside until those credits roll. Even though the dialogue is passable in comparison to other films of this genre, those expecting an actioner on par with Aaron Sorkin would do best to avoid it.

The tonal balance isn’t an easy one to pull off, and filmmakers vastly more experienced than Crocker have tried and failed, so praise is due to the key creatives for taking something that sounds familiar and perhaps even formulaic on paper, but repainting it as an engaging, emotionally-driven genre film that both is and isn’t what you think it’ll turn out to be.

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.

The ambition often outweighs the execution, but Totally Killer is still a fun and bloody riff on several different genres at once.

As the word “m#th&rf$ck*r” loses meaning, you can’t help but appreciate a wholly predictable – yet unapologetically confident – action goof that’s far funnier than it should be.

The Tomorrow War isn't as good as it could have been, but it's an entertaining enough sci-fi action blockbuster.

Last Looks doesn't bring anything new to the table, but it's a fun crime caper that makes us want to see Charlie Hunnam's Charlie Waldo again.

I Wanna Dance With Somebody doesn't do any part of Whitney Houston justice, except for maybe her voice.

The magic here is in underground experiences and questionable decision making, all twisted like junky copper wiring that’s unraveled into something more useful.

About Ray is not, in the end, a triumph, but is still good and necessary viewing for its subject matter.

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.

Halloween Kills is a huge comedown compared to its predecessor, offering plenty of blood, guts and gore to satisfy fans but little for everybody else in a by-the-numbers slasher sequel.

Overstuffed and disappointing, Live By Night wastes a strong supporting cast. It's not a total loss, but it doesn’t hold up against the rest of Affleck’s filmography.

Fist Fight suffocates a genuine script with easy, intro-level juvenility.

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.

If you’re looking for a glossy, breezy time, 'Shotgun Wedding' will be right up your alley. If you’re looking for chemistry, substantive humor, and meaningful filmmaking - look somewhere else.

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.

Here Alone is a sometimes-striking, sometimes-repetitive glimpse into apocalyptic drama that struggles to offer anything new.

Murder On The Orient Express is an antique mystery that chugs along at 5-miles an hour without any turns that might jolt viewers in the slightest.

It’s either a compliment or a criticism to say that you need to be on the exact same wavelength as Big Gold Brick to get a kick out of it, because if you turn the dial even the tiniest little bit in either direction, all you’re going to end up with is static. If you’re on board, though, then there’s plenty to enjoy about an offbeat adventure that’s unlike anything else you’re likely to see this year.

Dark Night is rigorously framed and edited, but it offers the illusion of complexity rather than the real McCoy.

The Space Between Us is not without bright spots (celestial production design dazzles, Butterfield’s niceties are refreshing in today’s day and age), but it’s ultimately more a slog than serendipitous romance.

Taslim, Sanada, Lawson and the gloriously R-rated fights elevate Mortal Kombat significantly, no doubt, and you can slap on another star if you’re a longtime fan of the series, but newbies will be left largely unimpressed.