Ethan Sacks

Battle sequences on horseback are executed perfectly for maximum pulse quickening. It helps to have a few good men — with apologies to Army vets disgusted with the Marine reference — cast in the supporting roles.

Scott and Plummer may deserve a standing ovation for taking a powerful stand amid the #metoo movement. If only the rest of All the Money the World was as powerful.

With its video game upgrade, Jumanji: Welcome to the Jungle manages to match the silly fun of its predecessor — even without Williams — and that’s no small achievement unlocked.

The new movie truly passes the torch by making the next generation of Resistance heroes — Rey (Daisy Ridley), Finn (John Boyega), Poe (Oscar Isaac) and new addition, Rose (Kelly Marie Tran) — every bit as compelling as the old guard. Even more surprising, Kylo Ren (Adam Driver) evolves from the whiny brat in “The Force Awakens” to a three-dimensional menace.

It still marks Del Toro’s strongest work since “Pan’s Labyrinth” 11 years ago. It is an homage to classic cinema, albeit a slightly quirky one.

There are enough positives that Justice League shouldn't be dismissed as Flash over substance. It’s just that with the rich history of these iconic heroes on the printed page, the film should have felt more… super.

Now that’s a kick in the head: A Western filmmaker is taking Jackie Chan seriously. The Foreigner, however, takes him a little too seriously.

Do androids dream of electric sheep? Maybe. But science fiction-loving cinephiles have definitely been dreaming of a movie like Blade Runner 2049 for years.

Unfortunately, overkill is the order of the day — and it takes a toll. There are too many supporting characters, too much exposition, too many gadgets, too many “Matrix”-inspired, slow-motion fight sequences, too many plot holes instead of twists and too ham-handed a political message about the war on drugs.

Most of the scares are well earned, as Muschietti mines horror tropes effectively, but there’s also a stretch where the film really turns into a circus.

It stands alone as the best "Star Wars" entry since 1980's "The Empire Strikes Back." Yes, it's that good.

By Sidney Lumet is less a true documentary and more a long, previously unseen interview given by the director three years before his death in 2011.

For the Love of Spock is ultimately as much of a love letter to other Trek fans as much as one to his own.

War Dogs may not reach "The Big Short" levels of resonance, but it clearly channels that Golden Globe-winning dramedy's newsreel aesthetic and lampooning of the Bush administration's policies.

Meyers leaves little editorializing in the film, though it seems unusually sympathetic to the band’s manager, Alan Sacks, who often treats the unseasoned musicians like employees instead of kids.

If there’s an MVP, it’s Simmons. “The Perks of Being a Wallflower” alum tosses off another subdued performance, a good counterpart to Hawke’s more over-the-top coiled rage.

DeGeneres and company make Finding Dory memorable.