A Commitment Fulfilled: TheWrap Achieves Gender Equity Among Its Film Critics

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‘Holmes & Watson’ Film Review: Will Ferrell and John C. Reilly Stagger Through Stultifying Sherlockian Spoof

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11 Best Documentaries of 2018, From ‘Minding the Gap’ to ‘Monrovia, Indiana’ (Photos)

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12 Worst Movies of 2018, From ‘Happytime Murders’ to ‘Life Itself’ (Photos)

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11 Best Narrative Movies of 2018, from ‘Paddington 2’ to ‘Eighth Grade’ (Photos)

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‘Mary Poppins Returns’ Film Review: Emily Blunt, Lin-Manuel Miranda Languish in the Shadow of Giants

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‘Once Upon a Deadpool’ Film Review: Ryan Reynolds Cleverly Milks Cash Cow a Second Time

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‘Bathtubs Over Broadway’ Film Review: Ebullient Doc Sheds Light on Musicals Aimed at Corporate America

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‘Anna and the Apocalypse’ Film Review: Zombies, Musicals and Christmas Make a Merry Mash-Up

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‘Dr. Seuss’ The Grinch’ Film Review: Benedict Cumberbatch Helps Make Third Time Charming

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‘Nobody’s Fool’ Film Review: Tyler Perry Makes Tiffany Haddish Do All the Work

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‘The Nutcracker and the Four Realms’ Film Review: This Sugarplum Is Rancid

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‘Bohemian Rhapsody’ Film Review: Queen Bio Won’t Exactly Rock You

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‘Stan & Ollie’ Film Review: Steve Coogan and John C. Reilly Capture Laurel & Hardy Onstage and Off

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‘Can You Ever Forgive Me?’ Film Review: Melissa McCarthy Forges Strong Performance

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‘The Hate U Give’ Film Review: Teen Drama Unflinchingly Examines Racism

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‘Venom’ Film Review: Tom Hardy Gets Buried in CG Goo, as Does the Plot

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‘Assassination Nation’ Review: Verve Carries the Day in Scattershot Satire

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‘Smallfoot’ Film Review: Fun Ideas Get Buried Under Avalanche of Mediocrity

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Burt Reynolds Appreciation: A Classic Movie Star With a Modern Sense of Humor

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