Welcome back the teeny-tiny superhero whose main superpower is Paul Rudd's outsized charm, while his main weakness is that everybody's always belittling him -- even the creators of his own movie.

Director James Cameron's epic sequel has a lot to pack in: it's a decent sci-fi blockbuster, a visual effects masterclass, and the best nature documentary you'll ever see.

This second stab is another twist-filled treat, having fun with the whodunnit genre while also just being very funny.

Black Panther: Wakanda Forever manages the delicate balancing act of working beautifully as a sequel to the 2018 movie, a touching tribute to Chadwick Boseman's character and a complex, thrilling MCU adventure.

It's worth finding the Roku remote, because Weird: The Al Yankovic Story, starring Daniel Radcliffe and Rainn Wilson, is funny as hell.

The new 2022 Hellraiser does some cool stuff when it reaches the back stretch, although the two-hour-long film spends way too long spinning its wheels to get there. It won't tear your soul apart, but at least it's a drop of fresh blood for a series that didn't deserve to stay dead.

The reunited Midler, Najimy and Parker running amok (amok, amok, amok) bring enough of that ol' black magic to carry this whimsical caper and keep it from feeling like too much of a cash-in.

Perfectly serviceable slice of big screen weirdness. This slick psychological drama is a glossy, stylishly surreal thriller with something to say, featuring an endless array of gorgeous fashions and Florence Pugh on excellent form. What more do you want?

A brand new remake of the classic Disney animation sanitizes the aging cartoon's more dubious elements, but still manages to be bizarre as all get out -- and in fact, this awkward mash-mash of digital effects and live action adds new levels of weird.

It's a gleefully exaggerated high-speed journey into action and comedy driven by swaggering star turns and first class boxcar brawls, and I'd work on that railroad all the live-long day -- no, I don't think I can keep this up. Bullet Train is just a hell of a fun time at the movies, OK?

Netflix delivers with The Gray Man, a rip-roaring and star-powered spy romp that puts all the money on screen as Ryan Gosling and Chris Evans go head to head.

Elvis is a compelling watch, with all the glitz and glamor you'd expect for a Presley biopic, but it skews more towards an ode to Luhrmann's cinematic style than an ode to the King.

It'll definitely keep the kids entertained and ultimately, if it gives another generation reason to fall in love with Buzz, that's all that matters.

Top Gun 2 reboots the original film's heart-pounding aerial action, infectiously cheesy character drama and don't-think-about-it-too-much military fetishism in a winning spectacle of cinematic escapism.

In the hands of director Sam Raimi, Multiverse of Madness is a marvellously assured balancing act of bizarre weirdness and affecting human drama.

Sonic the Hedgehog 2 is the confident sequel the original left me hoping for, with a sharper script and jokes that'll leave you giggling. It maintains the original's family friendly tone and dives into the classic games to create a cinematic universe for Sega's beloved icon.

Ryan Reynolds stars as a wisecracking time-flyer in Netflix's breezy but heartfelt version of ET, Back to the Future and Flight of the Navigator for the Marvel era.

It's more of a detective mystery than previous Bat-flicks, borrowing in particular from David Fincher's serial killer chillers Seven and Zodiac. And it's a gangster movie. Also a '70s conspiracy thriller. And a relentlessly bleak film noir. Most of all, though, The Batman is a horror movie.

The Uncharted movie may pilfer from assorted better films, but it's a victimless crime.

You might expect slick remix The Matrix Resurrections to be just money-grabbing nostalgia, but it's also a comment on money-grabbing nostalgia, a refinement and updating of the original film's ideas, and an exasperated clapback to anyone who missed the damn point these past two decades. With guns. Lots of guns. And even a few jokes.

Trashy, deliberately and provocatively fun, The King's Man does for spy movies what The Suicide Squad did for superheroes.

And if you're not intimately acquainted with two decades of previous Spider-Man films? If you're here for simply a well-oiled and entertaining Marvel (and Sony) flick, you won't be disappointed.

This West Side Story is an utter visual delight, filled with eye-popping color and heart-pounding movement, compelling characters whirling and flashing across a richly drawn city.

Despite the lack of scares, minor tweaks to the games' lore and overall silliness, director Johannes Roberts' love for Resident Evil is clear in every moment of Welcome to Raccoon City. With a barrage of Easter eggs and fascinating takes on classic characters, the film's a gleeful trip back to the Spencer Mansion and Raccoon Police Department aimed squarely at fans.

A case of diminishing returns as more fan-pleasing references and Easter eggs are hurled at the screen like a speed run through a prop museum.

With no zombies or mutant biker gangs in pursuit, Finch often feels more like Little Miss Sunshine meets Short Circuit.

It's a lot of fun, until it becomes clear that making jokes about heist movies is not the same as actually making a good heist movie.

While I appreciate that Eternals takes a creative risk with its time-jumping events, its convoluted plot ultimately lets it down.