Scott Campbell

It’s exhilarating while it lasts, creating an unwavering feeling of giddy excitement and palpable enthusiasm in doing so, but by the time the credits roll on a pair of post-credits scenes that hint towards where Thor is heading next, you might be left wishing you’d consumed something more substantial, instead of gorging on instant gratification simply because it’s right there in front of you.

You might think you've seen it all before, but 'The Twin' thrives in upending expectations to deliver an atmospheric folk horror that's as emotional as it is terrifying.

As a whole, Army of the Dead is big, loud, incredibly stupid and probably 20 minutes too long, but it’s a deliriously bonkers delight once it finally finds its footing.

The end product is a hugely satisfying and wholly original Christmas pic that will no doubt become required viewing on an annual basis for those who prefer their holiday favorites to be a little less traditional.

Next Exit aims high, and while it hovers perilously close to overindulgence at times, Elfman’s hugely accomplished first-time feature largely succeeds at every box it attempts to tick off.

It’s a film of maddening contradictions, missed opportunities and half-taken risks, but it’s destined to be one of the year’s most polarizing and talked-about releases regardless.

Fast X doubles down on everything longtime fans have come to know and love about the franchise, but anyone who isn't sold on the saga at this stage isn't going to be won over.

As an experience, Avatar: The Way of Water is second to none. In terms of the storytelling, though, James Cameron has fallen into the exact same pitfalls as he did on the first visit to Pandora.

No Man of God doesn't tell us anything about Ted Bundy we didn't already know, but it's a riveting drama anchored by two phenomenal performances from Luke Kirby and Elijah Wood.

The Princess fully embraces its outlandishness to deliver a cheesy, violent, R-rated fantasy actioner that's destined to ensure as a camp cult favorite.

Violent Night delivers everything that was promised, and it's destined to find long-lasting life as a cult classic, but there's barely anything of note beyond the superficial.

Malignant is messy, chaotic, ridiculous and quite possibly the most insane movie you'll see this year, but James Wan doesn't just know that; he uses it to his advantage.

Cruella isn’t perfect by any means, but it’s an altogether different kind of Disney blockbuster that pivots from origin story to heist thriller via family drama and a pastiche of the cutthroat fashion industry with consummate ease, all anchored by a tour de force performance from the leading lady.

When Bullet Train sings it’s often a blackly hilarious and knowingly absurd slice of demented action goodness. When it doesn’t work, self-indulgence begins to creep in, almost as if the creative team deliberately set out to make something that would be fondly remembered as a cult favorite in the years to come, but that’s a sentiment that can only be earned, not cultivated.

Indiana Jones and the Dial of Destiny is a solid action-packed blockbuster that ticks all of the franchise's required boxes, even if it isn't quite a farewell worthy of a cinematic icon.

It might be way too long and suffer from many familiar problems, but 'Ambulance' still has enough action-packed thrills in the tank to rank as Michael Bay's best movie in years.

The spirit of Stuart Gordon is alive and well in Suitable Flesh, with Joe Lynch picking up the baton and delivering both an ode to his inspiration and a riotous horror comedy in its own right.

Medieval works best when it throws dirt, mud, blood, and body parts at the screen, with the crunching battle scenes just about overcoming the narrative shortcomings.

Copshop isn't quite the movie the trailers paint it to be; It's definitely a worthy first meeting between Gerard Butler and Frank Grillo in the action genre, but Alexis Louder is the one who really steals the show.

Extraction 2 is everything you'd expect it to be; bigger, bolder, brasher, louder, and more spectacular. Unfortunately, it peaks way too early and fails to recapture that early momentum.

The effort put forth by James, Tomei, Hauser, and Fimmel just about carries Delia’s Gone over the finish line, which offsets the overall lack of a laser-focused singular method of storytelling that would have improved things exponentially.

Army of Thieves isn't the most original or inventive heist movie you'll ever see; but it's a massively entertaining expansion of Zack Snyder's undead cinematic universe.

The Electrical Life of Louis Wain is a biopic every bit as off-kilter and bizarre as the protagonist, but despite all of the whimsy and eccentricities, it finds itself missing a spark.

The Flash is good, and occasionally flirts with excellence, but anyone who goes in heading the game-changer that was promised may be left feeling a touch short-changed.

The Gray Man delivers on its promise of spectacular globetrotting action escapism, but there's a noticeable spark missing that could have elevated it above formula and into greatness.

Black Adam is nowhere near the game-changing revolution for the DCEU that was promised, but it's a solid introduction for Dwayne Johnson's antihero nonetheless.

Black Widow isn't going to go down in the history books as top-tier Marvel Cinematic Universe content, but it's not too bad at all.

Blood Red Sky both is and isn't the movie you think it'll be, but it's perfectly suited for Friday night entertainment.