WHEN WINTER WAS COMING: A LOOK-BACK AT THE PILOT EPISODE OF GAME OF THRONES

Colin Trevorrow's new movie is horrible in unique, unfathomable, nearly unprecedented ways.

Tired, tedious, and tame, Lucia Aniello's Rough Night (2017) lacks the courage of its pretended coarseness.

Johannes Roberts' murky, oxygen-deprived shark movie is dead in the water.

Once, Pixar made a movie about talking cars, and it made a lot of money. So, they made another one. Now, they've made a third one.

Heart-warming and soul-crushing in almost equal measures, Ken Loach's new film is a furious, funny, unfailingly humane masterpiece.

Existing at a curious nexus of buddy-comedy and crime-thriller, writer-director Ned Crowley's dark debut feature is uneven but promising.

Trey Edward Shults both explores and exploits our fears of the unknown, in a stark, harrowing, disturbingly intimate horror film.

Roger Michell's adaptation of du Maurier's novel is a stately exercise in indecision, and something of a cinematic Rorschach test.

Director Gabriela Cowperthwaite and star Kate Mara bring remarkable restraint, sensitivity, and authenticity to a feel-good story about a soldier and her dog.

I don't expect The Mummy to be the worst movie I see all year, but it's a banal mediocrity that bodes ill for Universal's interconnected "monster" franchise.

Comedian Demitri Martin's feature debut is not a completely insufferable movie, but it is a completely insubstantial one.

Sarah Adina Smith's ambitious second feature is a provocative, harrowing, and haunting film, if a slightly too-perfect vehicle for star Rami Malek.

Not since the Blitz has Winston Churchill been forced to suffer through this kind of bombing.

Every generation needs to learn potty humor, slapstick, and a total disregard for authority. Thankfully, Captain Underpants is here to lead the way.

Rest easy, well-wishers—and suck it, haters—Wonder Woman is a major triumph.