Nate Richard

Hell of A Summer might not have the most original premise, but Bryk and Wolfhard are fully aware of that, creating one of the most entertaining and crowd-pleasing slasher films of the 2020s.

Boy Kills World comes across as obnoxious, and the viewer already feels exhausted within the first 15 minutes of the film. It's as if the creative team wanted to make a cult movie but completely forgot cult movies have to be fun.

Foxx shines in every single moment that he's on-screen. He's able to hone in his comedic prowess and his dramatic chops delivering a performance that reminds us why he's a one-of-a-kind performer.

Timberlake's acting aside, Reptile is the perfect kind of digestible, mid-budget crime thriller that we just don’t get enough of.

The pacing is brisk without once overstaying its welcome, it has an ultra-charismatic lead, plus boasts all the violence, chaos, and melodrama one could want out of this particular movie.

While its predecessor proved to be a goofy and satisfying watch, the sequel is never able to fully recapture the charm. You're much better off rewatching the first film.

Strays aims to be as raunchy and dirty as a talking dog movie can get, taking full advantage of its premise, although never really going anywhere beyond that. Not all the jokes land perfectly, but those that do illicit some of the biggest and best laughs you'll have at the theater all summer.

Even with its faults, The Beanie Bubble isn't a bad way to kill some time. All four leads remain gleefully committed to their roles and bring the kind of energy that the screenplay is lacking, but it never fully justifies why this story needed to be told in this way.

Insidious: The Red Door might not be the scariest installment in the franchise, but it feels a lot more human than the others before it. The character moments end up feeling more effective than some of the film's big set-pieces and, while that may bug some genre purists, those who have stuck around since the first film released over 10 years ago will be pleased.

Lawrence flexes her comedy muscles in both her dialogue and physical comedy, taking some bold swings with some of the things she does on screen, and it pays off extremely well.

The Machine has enough going in its favor to warrant a recommendation to fans of Kreischer's stand-up comedy, but other audience members may walk out feeling empty.

Maniscalco has built himself a very large and dedicated following through his work in stand-up, and with About My Father, he's finally able to bring his jokes to the big screen in a way that will please his fans but also garner him some new loyal followers as well.

Ghosted is far from perfect, but there's still enough enjoyment to be had, especially if you're looking for something light to watch with the family on a Friday night. Evans and de Armas are charming as ever alongside a rock-solid supporting cast. There are enough laughs and fun action scenes to warrant a recommendation, just don't expect much more from it.

National Anthem may at times feel a bit too simple, but the craftsmanship and the core performances are enough to make it worth a watch.

80 for Brady is not the new golden standard of sports comedies, but it was clearly never trying to be. It's cute, silly, and light, all things that a comfort movie should be.

The humor ultimately feels lazy, and while the original film has had some mighty staying power, this new installment feels dead on arrival.

It is not only one of the best animated films of the year, but it's one of DreamWorks' best, and one that will strike a chord with moviegoers of all ages. It's equal parts exciting and hilarious as well as earnest, it never feels like it is talking down to anyone.

She Said doesn't rewrite the playbook of films about journalism, but it didn't need to. Maria Schrader's direction and Rebecca Lenkiewicz's writing hit every important beat just right, leaving us with an impactful film that's genuine and never fake.

Dear Zoe has its heart in the right place, but its reliance on creating one too many schmaltzy moments for the characters, and trying to be too many things at once, hold it back from being anything noteworthy.

Till will go down as one of the most powerful and important films to hit the screen in 2022, Danielle Deadwyler is unforgettable, and the film has a voice that needs to be heard more. A single movie is not going to stop hate, but that isn't the intent, this is a film that challenges its audience to open their eyes even more to racial injustice.