Scott Campbell

The ambition often outweighs the execution, but Totally Killer is still a fun and bloody riff on several different genres at once.

Writer and director Quinn Shephard's Not Okay takes thing near to the knuckle, but the biting jet-black comedy never loses sight of its intentions, deftly balancing humor and bile with heart and hard-hitting themes.

Packed with wit, humor, action and plenty of heart, Free Guy might just be the best video game movie to ever come out of Hollywood.

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.

No One Will Save You stands out among a crowded field for both the swings that it does take and the way it simultaneously acts as a love letter to its many forebears, all while putting its own definitive stamp on the proceedings.

Multiverse of Madness is at its best when allowed to be a Sam Raimi movie, but often sags when ticking off the boxes required of an MCU chapter that follows on from Scott Derrickson’s Doctor Strange, WandaVision, Loki, and Spider-Man: No Way Home all at once.

If you’re not a big fan of whodunnits, potboilers, or period pieces, then See How They Run isn’t exactly going to convert you. However, if you get on the same wavelength as a deliberately oxymoronic slice of escapism that melds the modern with the classic, the self-aware with the archetypal, and the subtle with the overindulgent, then there’s a distinct possibility you’ll end up with a smile plastered across your face when the lights come up.

Godzilla vs. Kong is exactly the movie that everyone wants it to be, and that covers both the positives and negatives.

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.

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.

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.

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.

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.

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.

Finch isn't the most original or exciting sci-fi movie you'll ever see, but it's a charming road trip adventure anchored by yet another incredible performance from Tom Hanks.

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.

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.

Despite some third act wobbles, A Lot of Nothing marks a strong, stylish, and suspenseful debut from co-writer and first-time feature director Mo McRae.

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.

It isn’t always entirely successful, but when The Adam Project is firing on all cylinders and zeroing in on the family drama that’s never too far away from the surface, you may just find yourself fighting back tears.

There’s definitely something vastly superior that was agonizingly close to being unleashed, but as it stands, Kosinski and his collaborators have delivered a solid summertime Netflix original that’s destined to play extremely well for the next couple of weeks, albeit one you almost certainly won’t hear anybody talking about six months from now.

Zack Snyder’s Justice League is excessive and overlong to the point that trimming anywhere up to an hour would have elevated it significantly, but it’s still a triumph of circumstance, style and execution.

Prisoners of the Ghostland isn't going to be for everyone, but if you're on board with one of the craziest movies you'll see this year, then strap in and prepare for Nicolas Cage at his most unhinged.

We Have a Ghost shows plenty of ambition as writer and director Christopher Landon broadens his horizons, but it never feels anything more than a series of disparate parts failing to come together as a satisfying whole.

There’s also an earnestness and unashamedly goofy quality to the whole thing that might even win over some of the actor’s longtime naysayers.

Kandahar finds Gerard Butler doing what he does best, and while there are some admirable attempts to deviate from formula, the end result isn't going to be regarded among the action hero's top tier.

The Last Voyage of the Demeter makes a decent attempt at reinventing the Dracula mythos, but foregoing the early tension in favor of all-out action proves to be its undoing in the end.

Beckett is a solid Netflix effort that offers a throwback to the intense political manhunt thrillers of the 1970s.