Devan Coggan

It's Gerwig's care and attention to detail that gives Barbie an actual point of view, elevating it beyond every other cynical, IP-driven cash grab.

A delightfully heartwarming tale about everyone’s favorite marmalade-loving bear.

The film version is an utter delight, a loving adaptation that's both true to the book and endearingly fresh.

It’s a hyperspecific vision of the Bay that won’t connect with everyone, and in truth, Freaky Tales seems destined to be more of a cult favorite than a genre-hopping blockbuster. But even with all the psychic energy and violent revenge fantasies, it’s the performances that help keep this tale grounded.

Not every gag lands, but Thelma is the rare spoof that’s both laugh-out-loud funny and disarmingly sweet.

A film that grapples with the legacy of the Holocaust doesn’t exactly make for automatic comedy, but Eisenberg deftly juggles the film’s shifting tones, evoking real laughs in some scenes while maintaining a somber respect in others.

It’s a brutal, bloody, and discombobulating ride, but boy, is it a blast.

Both are on the autism spectrum, and filmmakers Dan Sickles and Antonio Santini chronicle the pair’s love story in touching, captivating detail.

No Hard Feelings is a welcome addition to a dwindling genre — and a reminder that Lawrence is one Hollywood's best (and funniest) leads.

In a summer movie landscape littered with cynical reboots and quippy superhero sequels, there’s something refreshing about Kingdom’s earnestness, following Noa on a true hero’s journey. Caesar may be gone, but Noa is a more than worthy successor.

Even among all the sex jokes and vulgar one-liners, Joy Ride boasts a real beating heart. It's a raunchy (and occasionally familiar) ride, but it's well worth the trip.

The jokes that are there are shocking and hysterical, and unlike some similar comedies about grownup friends, the four core characters are actually likeable.

The film shines, however, as a taut courtroom drama.

Benson and Moorhead masterfully ratchet up the sense of unease, before the third act takes a turn for the truly terrifying.

Solid performances are overshadowed by chaos. Yates brought magic to the Wizarding World, while here, he stuffs Pain Hustlers with voiceovers, freeze frames, and black-and-white mockumentary talking heads. These are gimmicks that have been done before — and better — in films like The Big Short and now just feel derivative.

The final result is a messy but memorable effort, with Stan, Pearson, and Reinsve giving performances that are anything but skin-deep.