Dunkirk (2017)
Dunkirk is the first film Christopher Nolan has made that feels bigger than the director’s preoccupations and obsessions.
War For the Planet of the Apes (2017)
Too often I find myself in the melancholy position of trying to articulate why a movie I ought to like doesn’t work for me. War for the Planet of the Apes poses the opposite challenge: This is a film that, on paper, ought to leave me cold, but instead seared into my mind like a house on fire.
Spider-Man: Homecoming (2017)
No one almost destroys the universe or the planet, or even demolishes a large European city or a sizable chunk of a New York borough, in Jon Watts’ Spider-Man: Homecoming.
Despicable Me 3 (2017)
To call Despicable Me 3 desperate would be to ascribe too much effort and passion to the thing. Ice Age: Collision Course, now: There was a properly desperate sequel.
Cars 3 (2017)
At this point it seems like too much to hope for that any Pixar sequel, let alone a Cars sequel, should function smoothly from start to finish, but at least it ends well.
The Mummy (2017)
I have never seen a movie work harder or more hopelessly than Universal’s new The Mummy, not merely to launch a new franchise, but to jump from a standing start into a full-blown Marvel-style shared cinematic universe in one go.
Wonder Woman (2017)
Movies like Man of Steel and The Lone Ranger misunderstand and besmirch their iconic heroes. This movie understands and reveres its protagonist. That’s worth a lot, especially today.
Pirates of the Caribbean: Dead Men Tell No Tales (2017)
Even skeptics of the franchise must admit, I think, that the Pirates of the Caribbean films have generally aimed higher and been smarter than might have been expected.
Alien: Covenant (2017)
To succumb to a regrettable but practically inevitable coinage, Scott wants to make the world of Alien great again — to remind us all what was so terrifying nearly four decades ago about being in space where no one can hear you scream.
King Arthur: Legend of the Sword (2017)
However Arthur himself is depicted, the Arthurian hero (be it Gawain, Bedivere, Perceval, Lancelot, Galahad or Arthur himself) is a man who stands for an ideal or a cause … If you can’t manage this much, you aren’t reinventing the myth — you’re simply committing an act of cultural vandalism.
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