A tight 95 minutes of Paddington's cokehead cousin on the rampage, Cocaine Bear is the funny, gory romp we need in a landscape of samey superheroes.

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

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.

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?

If you liked the first movie, you're going to love this sequel. And if you weren't totally sold on the original Venom, there's every chance you'll like this movie a lot more.

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.

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.

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?

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.

Gunpowder Milkshake is fast, direct, and honestly more fun than I expected it was going to be.

Reminiscence is an assured big-screen debut from Lisa Joy, playfully recreating classic movie tropes with a modern twist.

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

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.

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

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 straightforward horror mystery with a few tricks up its sleeve, Choose or Die's nostalgia factor and charming leads will ensure you make it to the unnerving end.

All the slow-burning cinematography in the world can't disguise that Without Remorse is assembled almost entirely from creaky spy/action movie cliches.

Moonfall could be some kind of arch meta-comment on the excesses and artifice of the Hollywood zeitgeist. Or maybe it's just the dumbest movie ever.

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.

Jurassic World: Dominion splices nostalgic eras and movie genres and just about any other DNA it can lay its hands on. The result is a primordial soup of a few entertaining scares, but it's sixty-five million years away from making any sense.

Space Jam 2's desire to tap into the nostalgia associated with its predecessor leaves the sequel feeling unoriginal and predictable.

Home Sweet Home Alone exists, you already paid for Disney Plus, who cares.