‘Ad Astra’ Is A Majestic, But Frustrating Epic

‘Rambo: Last Blood’ Is A Rollicking Good Time Of Hyper-Violent Xenophobic Revenge Fantasies

‘Hustlers’ Is ‘Goodfellas’ In G-Strings, And J.Lo Is Perfect In It

John Travolta Becomes The New Nic Cage In Fred Durst’s Tragically Watchable ‘The Fanatic’

The Ridiculousness Of ‘IT Chapter Two’ Is Its Soul

In ‘Ready Or Not,’ Wealth Is A Birthright, A Curse, And A Kink — The Horror Counterpart To ‘Succession’

‘Angel Has Fallen’ Could Benefit From Less Shaky Cam And More Skull-Stabbing

‘Hobbs & Shaw’ Is Another Glorious Celebration Of Absurd Excess

‘Once Upon A Time In Hollywood’ Is Tarantino’s (Anti-Hippie) Ode To The ’60s, And We’re Happy To Take The Ride

Disney’s New ‘The Lion King’ Is A Weird Movie From Top To Bottom

‘The Art Of Self-Defense’ Is An Off-Beat, Awkward Riff On Toxic Masculinity

‘Yesterday’ Is A Profoundly Terrible Waste Of A Great Premise

‘Midsommar’ Is A Wild And Wooly Masterpiece

‘Child’s Play’ Is Funny And Gory But Misses A Golden Opportunity To Be Relevant

‘Toy Story 4’ Is A Deliciously Dark Romp About Toys That Yearn For Death’s Cold Embrace

If Nothing Else, ‘Shaft’ Proves That Samuel L. Jackson Is A National Treasure

‘The Dead Don’t Die’ Is A Vapid, Meandering Zombie Flick That’s More Celebrity Photo Shoot Than It Is Film

‘Dark Phoenix’ And The Basic Question Every Superhero Script Must Answer