Toy Story is one of the most consistently incredible franchises around, and the impressive fifth installment not only justifies its existence but feels like a necessary response to how much the world has changed in the past three decades. Toy Story 5 expertly stays true to what audiences love about the movies while adapting to the modern age, blending iconic characters with charming new additions. It’s sure to be not only one of the best family films of the year, but one of the best films of the year, period.

This is a summer blockbuster made for cinephiles, with no IP attachment and no overreliance on obvious Easter eggs. Even if you aren't entirely in awe of what Spielberg and Koepp have cooked up, there is still plenty to be impressed by. As a Spielberg devotee, Disclosure Day gave me exactly what I wanted from his return to the alien movie.

Far from a gritty reimagining, this new version of Masters of the Universe is determined to wink at the camera and appeal to your nostalgia. Not everything works, and it would have been nice to have a more menacing villain, but it's a good time if you leave your cynicism at the door.

Obsession never lets audiences forget that Nikki’s obsession may be supernatural, but Bear’s entitlement is painfully human.

Whether you're a fan of the miniseries or are just discovering Kane Parsons' wildly successful franchise for the very first time, Backrooms is a door that any horror fan should absolutely walk through.

Stan and Reinsve both give restrained but emotional performances.

Full of blood and murder and Gothic flair, what makes Victorian Psycho so good is that it doesn't need to pretend to be artsy or take itself too seriously.

Ultimately, Tuner is an enjoyable caper with a lot of elements you've seen in other movies, but rarely in this order. Impeccable production and subtle commentary will be a delight for cinephiles, while the unique setup keeps you engaged right up until the final note is played.

There's no doubt that Sachs is a master when it comes to crafting a stirring narrative. From the script, which he penned with long-time collaborator Mauricio Zacharias, to the vivid cinematography by Josée Deshaies (who was also behind the camera on last year's Urchin), The Man I Love embraces the art of filmmaking to its highest degree.

Hope could have been a near-perfect film had it abandoned its desire to go even bigger and simply stuck to the creature feature that made its first half so entertaining.

Overall, this is their most conventional film yet, and it further cements Schoebrun as one of the pre-eminent queer filmmakers of today, one who continues to bring clear vision and nuance to themes of identity, sex, and selfhood.

Swapped takes the tropes of body-swap comedies of the past and filters them through a decidedly contemporary lens.

As a film, Mortal Kombat II does still have some issues with some awkward pacing and perhaps one too many characters to juggle, particularly in the first half. But once the second half gets going, it becomes a bloody good time and a bone-crunching spectacle from start to finish.

While there may be one or two too many callbacks to the first film and a couple of unnecessary subplots, the sequel doesn’t rely entirely on nostalgia, nor does it strip away everything that made the original great. Maybe it’s not a perfect balance, but it’s pretty close to it. I don’t think I’ll be quoting this one as frequently as the first, but I certainly see myself grabbing some popcorn and peanut M&M’s for a pretty epic double-feature in the future.

As one of the year’s most delightful surprises, The Sheep Detectives is a charming, smart, and sincerely heartfelt whodunit that proves even the smallest voices can carry the biggest stories. But best of all, it’s also the kind of film you don’t expect to love this much and one you won’t forget anytime soon!

Michael may not rewrite the musical biopic, but it does just enough to set itself apart and inject a bit of new life into the genre by leaning into the family drama at its core. The performances are top-tier across the board, with Valdi and Jackson immediately becoming stars to watch and Domingo and Long proving once again why they’re considered two of the best in the business. The level of craftsmanship — from the hair and makeup to the costumes and production design — is unmatched, helping to compensate for a weaker screenplay and inconsistent direction.

It's fairly common for creature features to be populated by characters we feel little to nothing for: flat, cardboard people whose only real purpose is to fill the runtime until they get eaten. Thrash does a solid job of avoiding this standard pitfall.

The movie isn't reinventing the wheel — it is ultimately a love story that plays with familiar tropes in a beautiful setting. But it does remind audiences why we love these movies in the first place.

The story might be thin, and some new characters might not get the attention they deserve, yet The Super Mario Galaxy Movie remains a charming, often hilarious, and playful testament to the greatest video game franchise of all time.

The Drama is a film that will stick in your mind long after you’ve left the theater.

Although it could be debated whether this is a rom-com or not, given that the romance itself takes a back seat, it excels as a feel-good, indie dramedy anchored by Amanda Peet's career-best cinematic return.

Steve and Audrey Zahn pull it off in a beautiful film that will uplift your heart after breaking it.

Mike & Nick & Nick & Alice is a ridiculous adventure that is constantly surprising, unexpectedly touching, and truly hilarious.

Pizza Movie is a charming throwback to the stoner comedies that inspired it, an ambitious college movie that knows how to take a simple idea and turn it into something broad, wild, and expansive. While the joke might start to get a bit thin near the end, Pizza Movie is a clever bit of fun, and we definitely need more broad comedies like this in the world.

The Sun Never Sets is a charming take on the love triangle and a strong return to movies for Swanberg. The mixture of Fanning, Johnson, and Smith works well, and this romance is handled quite nicely without becoming frustrating with all its relationship back-and-forths.

While Kill Me doesn’t stick its landing, this is an impressive debut from Peter Warren, and it shows how well he can mix extremely dark subject matter with an engaging mystery that’s also quite funny.

Brian is an absolute blast and a hysterical coming-of-age story, centered on an impressive lead performance by Ben Wang, and an absolutely perfect handling of character and tone by Ropp and Scollins. Brian deserves to be amongst the great high school coming-of-age comedies that paved the way before it.

When it focuses specifically on the scares, Hokum is an effectively disconcerting film that relies on time-honored basics to really get under the viewer’s skin.