Certain segments are far more engaging than others, but overall The Ballad of Buster Scruggs makes for an intriguing piece of anthology storytelling.
Instant Family is feel-good entertainment that has a big heart, plenty of laughs, and raises awareness about serious subject matter.
The Crimes of Grindelwald has its moments of wonder and delight, but gets bogged down in its efforts to build out the Fantastic Beasts franchise.
Widows masterfully blends high-art craftsmanship with a sharply drawn pulpy narrative to deliver a crime flick that's equally smart and entertaining.
The Girl in the Spider's Web is a generic franchise revival hamstrung by an uninspired story and poor character development.
Overlord is an elevated B-movie that effectively blends war drama with zombie-Nazi horror for a wild, gory and fantastically fun thrill fest.
The Grinch works as a modernized retelling of Dr. Seuss's classic, with some compelling tweaks to the story and characters for plenty of family fun.
Outlaw King is buoyed by strong performances, by Chris Pine in particular, but David Mackenzie's swords-and-mud epic is too plodding to be exciting.
Beautiful Boy is well-acted and handles a sensitive topic with the care it deserves, yet ends up being an 'important' film more than a well-made one.
Well acted and thoughtfully directed, Boy Erased is a compassionate memoir that nevertheless struggles to leave much of an emotional impact.
The Nutcracker and the Four Realms has all the elements of an earnest holiday movie with family-friendly fun, but is less than the sum of its parts.
Suspiria is an alluring blend of sociopolitical allegory and visceral supernatural horror that yields imperfect, yet all the same fascinating results.
Monster Party is a violent ride of a home invasion horror movie that puts its own stylistic spin on the genre, but doesn't fully rise above the pack.
Prospect deserves credit for its ambitious vision and scope, but Earl and Caldwell's effort is undone by mediocre script and character work.
Despite a strong performance by Malek, Bohemian Rhapsody plays out as an excessively sanitized version of Queen's story, rather than a labor of love.
McCarthy and Grant make for a delicious pair of miscreants in Can You Ever Forgive Me?, a memoir brimming with sharp wit and social observations.
Silencio toys with fascinating ideas and sports some solid performances, but is ultimately dragged down by a mediocre narrative.
Johnny English Strikes Again is harmlessly silly on the whole, but may even leave fans of the previous Johnny English movies feeling underwhelmed.
The Old Man & the Gun is a pleasantly breezy cops and (aging) robbers tale anchored by Redford's charismatic performance - be it his last one or not.