“Bloodlight and Bami” is a colorful, fiery portrait of an 80s counterculture icon, dispensing quickly with mythmaking and asserting that creating a flamboyant public persona is just another natural response to the hardships of life.

To paraphrase a much better movie about superheroes, when everyone’s super, no one is.

All of Joaquin Phoenix’s devout scenery chewing is as good as wasted without something concrete for us to attach it to, making him—and the movie—inscrutable and tiresome.

Like those genetically modified apples you see in the grocery store that weigh twice as much and look twice as red as the locally grown organic ones, “Ready Player One” is designed to be pure, lizard-brain entertainment.

Max Winkler would have us believe he’s showing solidarity with the #MeToo and #TimesUp movements, but he comes across as nothing more than an opportunist trying to cash in on a trend.

Many moments are grotesque, even revolting, but in the way that’s impossible to look away from. The purpose of “Annihilation” is to bewilder.

Guadagnino creates an atmosphere of almost unbearable dreaminess for this young-love story, complete with a fluttering piano-driven score and visuals that recall the laziness and restlessness of summer.

“The Post” teaches us the all-important lesson of how to hold our friends accountable for the injustices they take part in without sacrificing those friendships.

For a director whose fantastical stories show that anything is possible, Guillermo del Toro is disappointingly content to lean on stereotypes almost to the point of lying down.

“The Disaster Artist” finds Hollywood finally laughing with Tommy Wiseau, not at him.