Universal Pictures
Happy Death Day 2U is like watching a million ideas hit the screen at the same time, progressively moving itself to shakier ground before losing any sense of narrative necessity.
How to Train Your Dragon: The Hidden World brings the franchise to a moving conclusion in a way that touches on very relevant themes about animal rights, growing up, and making sacrifices.
Piercing is an absolutely weird, kinky, stylish film that might not be to everyone’s taste; it is guaranteed to thrill some filmgoers and offend some others.
Glass may have been a film nineteen years in the making, but it feels superfluous and incredibly out of touch in a world littered with superhero films.
Welcome to Marwen is an unfortunately shallow endeavor, with trite dialogue and a saccahrine portrait of very serious issues.
The Holiday is expertly crafted wish fulfillment of the highest level, exhibiting the very best of what can be gleaned from such an unabashedly feel-good genre.
Mortal Engines clearly understands its source material, which makes for a fantastic first act, but has trouble successfully adapting it, resulting in the rest of the film being lackluster.
Hanna Fidell and co-writer Carson Mell accomplished a feat rarely seen with The Long Dumb Road, a believable wacky comedy.
Green Book is an easygoing film about difficult issues, and that dichotomy will rub many people the wrong way, but will charm others.
Was The Grinch necessary? Absolutely not. Sure, there’s some filler. Sure, there’s some cringe. But the quantity of them was not enough to impinge.
Halloween ends strongly, which always helps, but the picture lacks imagination in too many other areas to have any lasting impact.
If you belong to nearly any demographic, Johnny English Strikes Again will serve as a colossal letdown, and leave you contemplating how Rowan Atkinson could enter such a slump.
An incredibly funny film, An Evening with Beverly Luff Linn is a wonderful example of a film that is able to be surreal, comic, and emotional – even if the ending is really very, very bad.
Green Book is cinematic comfort food, equipped with witty performances and the aura of social importance, yet undistinguishable from the tons of other polite Oscar dramas that came before it.
There has never been a film that so thoroughly captures the excitement and danger of space travel as First Man, capturing that intoxicating mix of euphoria and terror of the 1969 Apollo 11 Moon landing.