Eric Goldman

Though mostly played straight, Faces of Death has a wicked sense of humor that’s used in a commendable manner. It’s not overplayed, but always lurking under the surface, and it provides some of that aforementioned twisted fun.

If you think ballerinas using their dance skills to fight and kill bad guys sounds fun, Pretty Lethal does deliver on its premise. However, it takes too long to get going, and is ultimately a somewhat amusing trifle instead of the more fun spectacle it could have been.

Goat isn’t doing anything new story-wise, but it’s a fun and engaging underdog (or undergoat?) sports comedy that shines thanks to its wonderful production design and animation.

It’s not a home run, but it’s an enjoyably goofy and gory time.

On the heels of several other Dracula-based films in very recent memory, Luc Besson’s take on the story doesn't do enough to set itself apart, despite its fair share of weird comedic moments.

Iron Lung has terrible pacing and very low energy from the start. The scenarios that Fischbach has put his character in just aren’t compelling enough to watch unfold, with scenes that drag on and on.

If you buy a ticket for one killer chimpanzee movie this year, Primate delivers the goofy goods. It has fun set pieces, a great-looking animatronic costumed killer chimp, and applause-worthy gore for those of us who like when our horror gets messy.

Now You See Me: Now You Don’t serves as a reminder of how they manage to coast by just enough, providing a good time thanks to the notable talent and charm of their expanding cast and the inclusion of the magic trick element to provide a unique flair. It’s the epitome of “We’re just having fun here” entertainment, and while little of it resonates, it mostly gets the job done.

You’ll believe a dog can star in a horror movie with Good Boy, which makes the most of its high-concept approach of centering a haunted house story not on a man but on man’s best friend.

After a strong first act, The Conjuring’s intended finale disappoints, keeping its central duo of Ed and Lorraine away from the action for too long.

As is expected from a sequel to a surprise action-comedy hit, Bob Odenkirk’s second round of ass-kicking gets a bit more goofy than the first film, in the process losing some of the charm of the original’s more grounded look at an assassin now living as a suburbanite. But Odenkirk’s commitment to the role and director Timo Tjahjanto’s flourishes make this an entertaining sequel that proves that there is a lot of joy to still be found in watching a legendary comedian turn into a one-man army when he’s pushed too far.

Pete Davidson does solid enough work in a more dramatic role and the supporting cast does the best they can with the material, but The Home collapses under its muddled messaging, overly familiar and sometimes ridiculously heavy-handed imagery, and a lack of tension.

Abraham’s Boys has some interesting ideas when it comes to a Van Helsing-based Dracula spinoff. Unfortunately, its weak visuals and lack of atmosphere stop it from fully delivering.

The Old Guard 2 is a disappointing sequel that isn’t as fun or engaging as the first film and doesn’t do enough with its face off between Charlize Theron and Uma Thurman.

The live-action How to Train Your Dragon can feel hemmed in by its faithfulness to the animated original, but it’s re-creating that film’s sense of heart and soul as well as its entire plot and most enduring images.

Predator: Killer of Killers definitely delivers on its premise. Its journey through several time periods is the perfect way to give us multiple Predator stories that each have their own distinct flavor and action highlights.

Coming off the triumph of its extension into TV with Cobra Kai, The Karate Kid franchise returns to theaters with Legends, a movie which is far less impactful than that show, yet still reminds us why the underlying story and themes of this series can still connect.

Lilo & Stitch is one of the stronger results of Disney’s non-stop remake campaign, taking the emotional core of the original and amplifying it in a stirring manner.

Ryan Coogler enters the horror realm and nails it in Sinners, which drops vampires into a deeply personal, heartfelt, emotional, sexy, and bloody story that’ll stick with you.

It mixes the throwback feel of an old-school spy story with an engaging scenario about a tech-savvy CIA analyst thrust into the field for decidedly dark reasons. The direction and a strong cast help sell this vibe and make for an entertaining time, even if it comes to a less-than-satisfying conclusion.

Alex Garland and Ray Mendoza’s Warfare is incredibly effective at putting you into the middle of combat, evoking feelings of dread and terror usually reserved for the darkest horror movies.

Drew Hancock’s Companion is a funny and clever thriller, carefully balancing dark moments of violence and unsetting reveals with a disarming sense of humor.

Josh Hartnett anchors Trap with a great performance as a serial killer penned in at a pop concert, but M. Night Shyamalan’s latest film falls apart in its third act.

The opposite of the soulless franchise extension it could've been, A Quiet Place: Day One delivers a prequel that elevates the series to new heights.

Bad Boys: Ride or Die provides a much more entertaining package than what came before, with thrilling and inventive action direction from Adil & Bilall. Yes, it’s as over the top and silly as ever, but it’s done with more panache and genuine wit than before, proving these Bad Boys, even at their older age, can still deliver.

Kingdom of the Planet of the Apes It’s not as emotionally complex as Dawn of the Planet of the Apes or War for the Planet of the Apes, and isn’t attempting to punch you in the gut like those films do. But as this series enters its post-Caesar, Disney-owned era, Planet of the Apes is still on remarkably solid footing.

The First Omen is a fiendishly entertaining origin story for both the antichrist and a filmmaker to watch.