Liz Shannon Miller

Calling First Steps the best Fantastic Four movie yet is accurate and also easy, thanks to the low-budget hilarity of 1994's Roger Corman-produced effort, the two lackluster (and blatantly sexist) 2000s movies, and Josh Trank's 2015 disaster. Yet just on its own merits, it's a solid comic book adventure that's not embarrassed by being a comic book adventure — in fact it finds real power in its love for its roots.

What Bumblebee does best is remember that this is a franchise for the young, and embrace that fact without any shame while also still delivering on the action. There’s no self-importance, no grafting of ultra-patriotism and too-dense mythology onto what should be a simple narrative.

Quantumania might be key to kicking off the big arcs to come in the MCU Phase 5, but it doesn't forget to have a good time.

The story may never break free of its more dated tropes, but the Dune movies represent a remarkable collection of talent coming together to, if nothing else, remind us of the power of epic storytelling on a big screen.

While the stakes are never less than serious and the tone never wavers, there’s still a playfulness to many of Monkey Man’s fight scenes that makes them thrilling to watch — and to generate excitement for whatever Patel might choose to do next.

BlackBerry holds up well as a blunt portrait of BlackBerry’s ascendance as well as its eventual decline, with cinematographer Jared Raab riffing on the documentary-esque filming approach of Succession to keep the action kinetic.

One of Sometimes I Think About Dying‘s strongest qualities is that Fran’s emerging bond with Robert isn’t presented as a saving grace — instead, it’s just one potential opportunity to pull her out of her comfort zone.

What this film does achieve is telling a solid new Batman story, one with some pretty compelling twists and a strong point-of-view on who, exactly, the Caped Crusader is. By default, that makes it one of the better Batman movies ever made.

Loud, gory, sometimes silly, sometimes scary, and nearly always constant fun, Studio 666 is tailored to a pretty specific audience but has the potential to break outside of that niche, thanks to its commitment to old-school horror tropes with a hearty side of rock and roll.

Heart of Stone is the rare streaming movie that does not open with an in medias res action sequence, followed by a “[Some Amount of Time] Earlier” card and a flashback to simpler days.

At its core, it’s simply a sweet personal story — made by a guy who, as we see here, started off wanting to do exactly that.

It’s a performance worthy of all the acclaim it’s received, not just because of the emotional impact that Anderson’s involvement brings. Her work is instead a reminder that none of us are obsolete as long as we keep breathing. We always have a chance to tell our stories.

Because that’s ultimately what Reitman succeeds at with Saturday Night — capturing the allure that’s kept audiences tuning in for what will be 50 seasons, come September 28th, 2024. The sense that something magical is going on in a little studio called 8H. No one knows what will happen. But they want to find out.

In a lot of ways, Top Gun: Maverick is the platonic ideal of a film sequel, constantly in dialogue with the original project, and committed to growing and expanding upon that source material.

Like in fighting, there are some movies of a certain caliber, which excel because they know exactly what kind of movie they’re meant to be. Road House is definitely a fun watch — because it doesn’t punch above its weight class.

Lady manages two remarkable achievements at once: Delivering both a slice-of-life narrative, rich with cultural details, while at the same time telling a galvanizing, even inspiring story about what it takes to activate a person towards speaking out for real change.

Grim and gritty are words this movie firmly rejects, instead leaning into the human side of everyone involved, even its villains. There are a few choices that work less well than others, but the end result is a movie that doesn't sacrifice its titular character in service to franchise-building. Instead, it focuses on celebrating the values that Superman himself has embodied from the beginning.

Anyone who’s ever been to a great concert knows that it’s the very rare movie that can fully capture the transcendence of live performance. Hit Me Hard and Soft gets damn close thanks to the dual perspectives of its directors: The artist at the peak of her abilities, and the observer in awe of what he’s witnessing.

If the Avatar universe is going to be James Cameron’s preferred delivery method for visual spectacle on this scale going forward, then, let’s face it — by then, we’re all going to be itching for our next trip to Pandora.

Craig’s performance on its own is worth the price of admission, and if nothing else Guadagnino really knows how to transport the viewer to a completely different place and time from today. With his films, the cliche has never been more true: The journey is the destination.

Though the plot might feel a bit overly complicated, given the level of Serious Business being discussed in serious tones by these characters, it never drowns out the key emotional connection. There’s nothing seismic here, just a colorful, enjoyable yarn by one of the best cinematic confectioners around. One with some real heart to it.

Mangold’s steady direction doesn’t quite live up to Spielberg’s signature flair, but this is a solid entry in the franchise, solid enough to even inspire interest in future installments.

There are several sequences where the comedy of Thelma really sings, but if the film was just a parody, it would maybe be a funny yet rough watch. Fortunately, its depth of feeling for its elderly characters elevates it to a strange hybrid that works remarkably well, with Squibb’s performance in particular bringing it all together.

Does Rebirth set up a promising new future for the franchise, as its title suggests? Not exactly — again, this feels very much like a stand-alone adventure. But it does prove that it’s still possible to tell a suspenseful and exciting stand-alone story within this franchise; while it might not quite match the original, it at least doesn’t lose sight of its most compelling elements. Dinosaurs might be dying out. But the audience’s desire to watch them gobble up humans will never go extinct.

While the filmmaker is very much the protagonist of this story, the personal touches included don’t overwhelm the story — and in fact add a certain sweetness, especially as both women face setbacks in their quest, and their friendship grows deeper.

It all leads to a cinematic experience that’s powerful, scary, disturbing, and often quite funny.

There's a confidence to respect in this film, as it tells a story which feels fresh within the established framework.

Armstrong’s dialogue flows like no one else’s, but there’s something just a little bit unbearable about listening to stupid people talk like they’re smart, and Armstrong doesn’t pull away from that aspect.