In Earth Mama, Savanah Leaf gives us a towering reminder of the women who gave their all for us, their determination and power, the difficulties of staying afloat when you feel like you’re drowning, and how we can’t truly know what other people are struggling with, no matter how hard we try.

In the end, Meg 2: The Trench is not much different from the first installment in the franchise, for better and mostly worse.

While the narrative is rooted in the use of a sci-fi device, the film is rather light on traditional elements from the genre, relying almost entirely on the personal relationships of the characters and their shared memories to tell a story about the ripple effect one life can have on even the tiniest details of the world around them.

Rowe and co-director Kyler Spears are able to make this world action-packed, exciting, abnormal, and humorous in equal measure, and by focusing on making these TEENAGE Mutant Ninja Turtles into authentic youths, Mutant Mayhem takes characters we’ve seen over and over again and makes them fresh once more.

It is the worst thing an action film can possibly be: forgettable.

If you were an HQtie (as Rogowsky affectionately dubbed regular players) back in the day, you might find watching this documentary to be 90 minutes well spent. But if you weren't playing the game, there's not much of a case to be made for checking out Glitch.

After the Bite could initially be mistaken for just another part of a trajectory of movies that has become defined by this trend-chasing rather than something more. However, if you begin to look closer, you’ll discover a measured reflection on our relationship to both the predator of the deep and the habitat that has come under threat.

Even in the moments where it can feel a little rough around the edges, the portrait being painted is a breathtaking and unrestrained one. It all comes together to ensure that, in the long cinematic history of American road movies, The Unknown Country carves out an indelible legacy of its own all the way to its final series of shattering shots.

Haunted Mansion isn’t reinventing the wheel with this haunted house story, for sure, but it’s the gratification of watching this cast have fun with each other, and the pleasure that Simien and Dippold have playing in this sandbox that makes this quite often a treat to watch.

Booger is a bold and refreshing journey into grief and the damaging effects of holding it in when it desperately wants to claw its way out.

The Becomers is a movie that’s interesting even in its misfires, as there’s always something quirky and curious happening on the screen.

Sympathy for the Devil should be thankful for Cage and Kinnaman's brilliant dynamics as, without them, the movie would be nothing more than a bland thriller.

Even with its faults, The Beanie Bubble isn't a bad way to kill some time. All four leads remain gleefully committed to their roles and bring the kind of energy that the screenplay is lacking, but it never fully justifies why this story needed to be told in this way.

What makes this latest documentary from director Peter Nicks different is how it takes time to sit with the failures and go just a bit deeper.

There’s no sugarcoating Cobweb’s flaws, from pacing to convoluted editing. Yet, the movie does have the potential to become a crowd-pleaser, as it does deliver the scares. It might not be a particularly memorable horror film, but it’s still entertaining, and sometimes that’s all the reason we need to go to theaters.

Oppenheimer is a towering achievement not just for Nolan, but for everyone involved. It is the kind of film that makes you appreciative of every aspect of filmmaking, blowing you away with how it all comes together in such a fitting fashion.

Gerwig has created a film that takes Barbie, praises its contribution as an idea to our world, but also criticizes its faults, while also making a film that celebrates being a woman and all the difficulties and beauty that includes.

Ultimately, watching Scream of My Blood is not so different from watching Gogol Bordello live, thanks to the perfect balance of unhinged fun and political purpose.

The texture that gives vibrancy to these types of understated stories just isn’t there, ensuring that what little there is to grasp onto soon slips away as well.

Jalali creates a unique dramedy that will be remembered for its solid direction, powerful performances, and eye-popping cinematography.

If We Have Never Been Modern had been produced in Hollywood, Křenková would be an early candidate for an Academy Award thanks to her passionate take on Helena. Chlupáček knows that character should be at the center of a movie that’s all about the human experience, which is why the director gives Křenková plenty of space to shine. And shine she does.

While the road is frequently more important than the destination, the lack of surprises may test the audience’s attention span, especially in the third act, when both characters are already well-established and we understand their inner struggles. That said, You Sing Loud, I Sing Louder is still a powerful family drama enhanced by phenomenal performances.

That we remain invested is a testament to Boyega as he proves once more he is capable of making good films that are greater than the sum of their parts. It cements his status as one of those actors who makes any project he is attached to one worth seeking out with They Cloned Tyrone being on the better end of a career with so much promise ahead

It offers a solid police investigation story though fails to use its unique sci-fi world as well as it could have.

Even as there are some moments where it can fall into feeling like a greatest hits recap of the group that dances along the surface of the story, the more complicated reflections it offers on their lives and music cuts quite a bit deeper when it counts.

While Bird Box Barcelona is only following the trend, it is too bad to see the spin-off try so hard to keep fans excited about the next chapter that it undercuts the emotional weight of its ending. So, while the film surpasses the original in every sense, it still gets dragged down by the needs of a franchise.

Even if Smiling Georgia could trim some minutes from its already short 62-minute runtime, the documentary is still fun and poignant enough to get us smiling in the end.

While The Hypnosis doesn't always handle the character of Vera as well as it could, the movie is still a great piece of social satire. Above everything else, it deserves praise for standing in favor of a life that's less performative and more attentive to one's desires.

While The Animal Kingdom is far from perfect, it still delivers a crowd-pleasing story that can move and thrill in equal measure.

If She Came at Night is so capable of going from well-timed comedy to dramatic moments, the movie has Peková to thank above anyone else.

It’s a sophisticated commentary wrapped up in a beer-soaked package and is sure to linger with you long after the credits roll.

The Graduates is a compelling drama with incredible performances across the board and confident direction.

Director David Jařab fails to capture the same enthralling energy of Conrad's original story, resulting in an experimental film that too often misses the mark.

It’s rare to feel the tension built inside a theater to the point where everyone is holding their breath, but Red Room is a unique movie that defies expectations and keeps pulling the audience deeper into the dark abysm of human nature.

Citizen Saint treats the sensitive subject with the subtlety it deserves. While some of the answers the movie proposes might be uncomfortable, it still shines for never falling prey to oversimplifications.

Insidious: The Red Door might not be the scariest installment in the franchise, but it feels a lot more human than the others before it. The character moments end up feeling more effective than some of the film's big set-pieces and, while that may bug some genre purists, those who have stuck around since the first film released over 10 years ago will be pleased.

The Out-Laws has a workable premise with a great star-studded cast led by a sincere DeVine and is funny with great potential outside its humor. But it never hits the mark and only works in pieces due to recycled ideas and formulaic tropes across clichéd writing.

All you need to do is open your mind to its wonders and you may too discover something about yourself along the way.

That it holds together is a testament to the cast who it feels like are battling against clumsy escalations that go bigger and louder when the quieter moments carry with them a far more tactful deployment of emotion.

Bursting with laughter and heart, Joy Ride is not only chock-full of ribald comedy, but it's a wholesome story about friendship which is what grounds these types of movies.

Dead Reckoning Part One is plenty of fun, and one of the best action films of the summer by far, but coming five years after Fallout, it’s hard for this seventh film to not feel like a bit of a disappointment.

Cohen carries the reverence she feels for her subjects into Every Body, which insightfully raises awareness about intersex individuals even though some of its creative choices prove distracting.

Alberdi reminds us of the essential beauty of personal connection, and it elevates The Eternal Memory from a memoir to a glimpse into what the best humanity has to offer even in times of hopelessness or crisis.

While fans of Cox and Beckinsale‘s work might still enjoy some moments of Prisoner’s Daughter, the overall lack of polish in the script makes for a dull experience that’s filled with inconsistencies.

The characters are consistently charming, the humor sufficiently silly, and the animation often beautiful, though the standard path it takes holds it back from fully exploring the potential lurking just beneath the surface. When it all bursts free towards the end is when the film is at its best.

There are layers of complexity in both Wright’s performance and that of the late Williams which elevate the experience, making for a sturdy enough riff on the Western that still could have been so much more.

Lawrence flexes her comedy muscles in both her dialogue and physical comedy, taking some bold swings with some of the things she does on screen, and it pays off extremely well.

Whatever one takes away from it, the final moment of melancholy it taps into is crossed with the joy of seeing a film free itself by eschewing our expectations to just be. It may leave some feeling adrift as a result, but the truth of its emotional experience would demand nothing less.

The film is lovingly put together and expertly crafted, making for a gorgeous tribute to Lee.

A true dramedy, it’s as raw and painful as it is refreshing and cathartic. Though nothing is tied up in a neat little bow at the end, you’re left with an undeniable feeling of hopefulness. You’re sure to laugh, and there’s a good chance you’ll shed a few tears, too.

There are several interesting ideas and stories floating around Eric LaRue, but Shannon can’t seem to decide which ones to focus on. While there are some genuinely fantastic, inspired moments, they frustratingly never quite come together, leading to a baffling viewing experience. Hopefully, Greer will get another chance in the spotlight of a more worthy film.

With eye-popping animation, a fresh story that challenges tropes, and an energetic voice performance by Chloë Grace Moretz as the titular character, Nimona is nothing less than a triumph.

Even as not all the jokes land, the rare experience of getting to take in a spoof comedy like this makes it worthwhile all the same.

Extraction 2 feels like a glossier and more by-the-numbers extension of the first movie. By giving Rake, their Sad Action Hero, something more to fight for, the filmmakers accidentally stripped the character of what made him so compelling in the first place.

It feels stuck in a strange, bland limbo, unsure of what it wants to lean into and truly be. For a movie all about identities, this film lacks one.

There’s a lot to like about The Listener, with Thompson’s performance easily being the highlight. It’s a simple yet powerful story of finding connection and hope through the dark times.

For me, it’s the film to beat this year, easily taking the crown as my favorite scary movie of the last several years — even if all the scares come from the idea of what might happen when your closest friends turn on you.

Despite how transgressive and inventive Dalí was as an acclaimed artist, Dalíland is content to create a story that plays it all too safe.

After the dregs of the first five Transformers films, Bumblebee felt like the shot in the arm that this series needed to make it what it should’ve been all this time. Coming off that, Rise of the Beasts feels like both a step forward and a step back.

Even without the questions about the veracity of the story, its rah-rah style makes it feel superficial rather than sweeping. In the end, Flamin’ Hot comes across as a selling of a story and a brand rather than a genuine retelling of one.

While the kills in the first movie were quite imaginative, they also erred slightly into the fantastical. The Wrath of Becky grounds its kills more in reality, but it doesn't pull back on the gore whatsoever.

It's far from perfect, but the production design of the film and the strong backbone of actors make Cobweb an entertaining film, though not a must-see.

Part true crime legal thriller and part family drama, Triet's Palme d'Or winner is a thrilling story about perception, truth, and ambition.

Cameos and fan service are fine to have, but the story has to be there to back them up, and it’s not quite there with The Flash.

Narratives about identity are important, but Elemental lacks the delicate nuance needed to tell these stories.

Across the Spider-Verse isn't just easily one of the best films of 2023 and one of the best animated films in years, it's also in the running for best superhero film ever, and arguably cements Miles Morales as the best Spider-Man we've seen on the screen so far.

The Machine has enough going in its favor to warrant a recommendation to fans of Kreischer's stand-up comedy, but other audience members may walk out feeling empty.

The grim absurdity of it goes hand in hand with the horror, making the escalations and chaos properly fun.

It’s evident right away that the people responsible for Being Mary Tyler Moore, a two-hour documentary about the personal and professional life of comedic-leaning actress Mary Tyler Moore, cared deeply about its subject.

The Boogeyman is at its best when it strips away all the excess to draw us deeper into darkness.

Maniscalco has built himself a very large and dedicated following through his work in stand-up, and with About My Father, he's finally able to bring his jokes to the big screen in a way that will please his fans but also garner him some new loyal followers as well.

While the group of actors who play the students offer strong performances, particularly Luke Barker, Ksenia Devriendt, and Florence Baker, Hausner's meandering feature eventually concludes without a real ending.

While the narrative has its cracks, the visual aesthetic and appearance of Asteroid City are completely flawless.

None of the action scenes have any passion to them and, even worse, they can feel downright contrived. That it then pretends to have something more to say strains credulity.

Where Thornton's narrative falters, his camerawork and directorial eye are stronger than ever.

While Haynes isn't at his best with May December, a talented cast and an intriguing story make the film an entertaining exercise all the same.

The Little Mermaid might not match the greatness of the original, but it’s the rare remake that feels worthy of being part of our world.

With a messy story and confusing characters, Aïnouz's Firebrand is a disappointment to behold no matter how exquisite the film looks.

Occupied City starts off strong, but after the intermission, you can feel how aimless the documentary is at times, with the final act feeling almost excruciatingly long.

Bolstered by a strong cast and a luscious color palette and landscape, Killers of the Flower Moon is worthy of a watch for those who can look past its romanticization. For those looking for a film that puts Native American voices and characters on center stage or a more comprehensive story, continue moving on, even with three-and-a-half hours, this is not that film.

It is a fun romp, one that is sure to entertain audiences.

Kore-eda crafts a careful story, full of hidden twists and turns that reveal themselves with time and patience.

The problem just keeps coming back to Harlow. Not only is he just out of his depth in hitting the necessary comedic notes, but the hollowness of his performance also becomes impossible to overlook when his character goes through a rough patch and must find redemption.

Jeanne du Barry’s straightforward script might not convince the average moviegoer to spend two hours in the French court. However, fans of period romances will be well-served with a love story that puts a sex worker in the spotlight. And while Maïwenn and Depp are not the steamiest couple in period biopics, Jeanne du Barry is still entertaining enough to be worth your time

But even though Fast X is spread too thin, and we’re starting to see the consequences of this ever-expanding family, it’s still a blast to watch.

Crater's stakes are low for its characters and the audience. It abuses clichés, never deviates from its formulaic script, and fails to surprise the viewer.

The character-driven action epic from director Niki Caro is at times imbalanced and lacks subtlety. Yet, like its lead, it manages to get the job done.

When all the pieces come together, it is a work that proves to be one of the more well-rounded experiences from Rodriguez in quite some time.

If Day has shown anything with Fool’s Paradise and the long road to get it made, it’s that he has passion and a vision, and a dedication to making a project that works for him. Fool’s Paradise might not work as well as it should, but fingers crossed that Day keeps at it.

Book Club: The Next Chapter is a raucously funny movie that will leave audiences ready to grab their gal pals and set off on an adventure to Italy.

While there are many promising pieces being assembled, with arresting visuals bolstered by the performances of Mescal and Barrera, any awe to be had in Carmen becomes dashed by its own emptiness.

It is a beautiful, haunting, and heartwarming look at the tidal wave that trauma brings not just to one person but their entire circle. With subtle but sharp notes on MeToo, cancel culture, online trolling, and sexual assault, I Used to Be Funny is a searingly relevant film without making that its main objective.

From the careful casting of Navajo actors — vital not only to representation but when it comes to speaking the language — to its honest look into rez life without any Hollywood spin, Frybread Face and Me isn't just a joy to watch but spells a bright future for Luther after this narrative feature debut.

It can be said the film does indeed provide a full summary of Foreman’s recounting of the major events in his life where he comes out looking pretty great, but that hardly makes for a compelling work of cinema.

Guardians of the Galaxy Vol. 3 isn’t just the ideal sendoff for this group, it’s the best MCU film in years, and a reminder of how much fun and moving the Marvel Cinematic Universe can actually be after film-after-film of recent disappointments. The Guardians of the Galaxy were the best corner of the MCU, and Gunn has created the perfect goodbye to this gang of misfits.

With Peter Pan & Wendy, Lowery shows there’s nothing wrong with sticking close to the text, as long as you bring some new identity to the story and give the audience a reason to care about seeing this story once more. With both Pete’s Dragon and Peter Pan & Wendy, Lowery has shown the correct way to tell a time-honored story once more.

Are You There God? It's Me, Margaret isn't just a long-awaited adaptation; it's a loving, laugh-out-loud one, with clear affection for the original story rendered in every frame.

With disregard to elements it itself establishes and featuring more characters than it knows what to do with, the film forgets to flesh out its comedic potential and sticks to the repetition of a handful of jokes, even when some of them fall flat.