Summering provides the perfect territory for whoever wants to feel nostalgic about childhood, or just wants to enjoy spending time with kids trading clever banter. But the journey gets a little less sweet once you realize that the movie lets go of basic logic just so its main characters can have a bit of fun and bring their journey full circle.

Yet even though it never quite reaches its full potential, Day Shift is enjoyable for the aspects it does want to focus on, even though it’s hard not to wish it would investigate the larger world further.

With neat, concise storytelling, and a skilled cast, Rogue Agent is a compelling film that will appeal to thriller and true crime lovers alike.

With weak leads and shallow characters, Fall fails the audience by its inability to present human beings we can care about.

By the time it all eventually wraps up with some lackluster lessons conveyed via a painfully sappy final scene, you’ll wish the film had taken the chance to go on a journey with Keaton and Paige instead of whatever this all was.

Ambitious yet focused, it is a film that draws from both history and fantasy that it then shapes via joyous music. The result is an epic that makes the most of its magic, eschewing the regrettably typical constraints of the form to become something that is both deeply reflective and beautifully realized.

Meta-filled mayhem that plays on some of the corniest and most familiar Star Wars tropes is the perfect piece of cinema for long summer nights.

Howard's no-frills approach to Thirteen Lives is what makes it such a success.

Rise of the Teenage Mutant Ninja Turtles: The Movie is a nice effort in extending the legacy of a far better TV series, but it fails to comprehend that in order to tell a “serious” and “epic” story, it lets go of all the elements that made us fall in love with the series in the first place.

Despite its obvious flaws, They/Them is still worth a watch, mainly because of the sensitivity with which the filmmaker presents the fears and joys of LGBTQIA+ people. It’s no easy feat to introduce a huge cast of characters in a short runtime and still make us care about all of them, but Logan does exactly that.

It is enigmatic and eerie in a manner that crawls under your skin until you feel like you can't escape it. It is proof that films like this, even as they are enormously painful, can reveal the dark truths of being alive in ways other works shy away from. It reflects how life can often have no respite from tragedy, instead burrowing deeper and deeper into it. It succeeds in capturing this state of being, meticulously and ruthlessly ripping away the past until the future comes crashing down.

The only real downside to Prey is the streaming format through which it'll be released, with the 20th Century movie being shuttled over to drop on Hulu later this week. It's no hyperbole to say that this is a film that demands to be seen on as big a screen as possible, if only in order to thoroughly appreciate one of the best action movies of the year thus far, let alone one of the best Predator movies since the first.

All in all, Incredible but True remains an unmissable movie for Dupieux fans. And for those worried about getting lost in the filmmaker’s passion for nonsense, the movie might be his most accessible work yet.

While the humorous heights of both the situation and the people within them can be exaggerated for comedic effect, the conclusion we arrive at is anything but. When we see these people for who they are and the frightening whole they have come, it will leave you shaken to the core because you can recognize just how familiar this all is.

Possibly the biggest surprise to Luck is just how generic and uninspired it feels, despite how many ideas are crammed into this story. There’s no wonder, no excitement, no jokes that land.

Bullet Train is knowingly absurd and has plenty of fun with the wild lengths it can go, and for the most part, that keeps Bullet Train on the rails.

There’s promise, but Vengeance at times feels like a West Texas version of Under the Silver Lake, but without the focus and care. Unfortunately, Ben’s editor was right, Vengeance is more a theory than a story.

Mali Elfman’s directorial debut Next Exit, sets out on a journey towards death, but along the way, it is filled to the brim with life and questioning about what it is to really live. What’s fascinating is that Elfman penned the script over a ten-year period, yet it so perfectly encapsulates the here-and-now.

With a great voice cast, curious characters, and glimpses of an engaging art style, all the movie had to do to be great was rely more on the original things it brings to the DC universe. Instead, DC League of Super-Pets is satisfied being just another commonplace superhero tale.

Barnard smoothly dovetails the lighter moments with the dark and makes sure to not skirt the traumatic moments in Ali and Ava’s marriages. Akhtar and Rushbrook handle these intense character revelations like pros, never feeling the need to veer into melodrama.

Some well-timed edits maximize the impact of the jokes and help leave necessary horror elements up to the imagination. Even when we don’t see everything, our minds fill in the gaps to make the gore and gags that befall Wes land.

Beyond these two endearing actors being able to gleefully chew the scenery, The Gray Man is mostly a collection of tired spy tropes, directed in a muddled and baffling way, that seemingly exists to set up what seems like will be a fairly unimaginative franchise.

The real beauty of Nope, however, is watching Peele explore this playground, continuing to prove that he’s a maestro at crafting stories that are extremely weird, yet engrossing and impressive to watch.

In its own way, Persuasion is trying to persuade its audience that Austen was brilliant in her modernity, when Austen already handled that quite well without Cracknell, Bass, and Winslow’s help.

Mrs. Harris Goes to Paris is a quiet delight, a perfect summer interlude that exudes beauty, optimism and charm in every scene. Mrs. Harris Goes to Paris feels like capturing joy in a bottle.

Who knows what Paws of Fury: The Legend of Hank could’ve been when it was originally envisioned over a decade ago, but what it ultimately became is a tiresome, tedious, and uninspired animated adaptation of a classic parody that doesn’t have any of the original’s comedic wit or bite.

What is undeniable is its sense of vision, a fully realized work that marks Colbert as a director to watch in absolutely anything she takes on next.

Where the Crawdads Sing is a weirdly uncomfortable movie, on many different levels. If you haven’t read the book I can’t imagine you would want to see this movie; if you have read the book, I say proceed with great caution.

While it is important for the film to immerse itself in the emotional struggles of the scenes, it also is hindered by some occasionally abrupt edits and anarchic writing that dulls the sharpness of its story.

I never once rolled my eyes at a joke that was clearly dropped in, so it could be a zinger and make it to the trailer. It successfully silenced a rather jaded MCU fan by offering a story that had it all without having to sacrifice its soul to the MCU machine that is eager to churn out stories for future phases.

Even with Fiennes and Chastain giving it their all in a manner that makes the story far more engaging than you would expect, they can’t carry it all on their own. The most ambitious and audacious performances in the world can’t overcome storytelling that is otherwise safe to the point of being timid.

The fast-paced, vaudevillian-style humor keeps us laughing despite the fact that we never really have any clue what any of the Minions themselves are saying. This movie affords itself more surface-level moments with lesser-developed villains because of the relationships we're immediately invested in between Gru and his Minions.

There are very few classic hallmarks of horror films in The Black Phone. They arrive in the third act, but before that, it is a lot of… nothing. Talking. No cat-and-mouse chasing. No killing. Not even any suspense.

Fleischer-Camp and Slate are able to expand Marcel’s story in a way that doesn’t stretch out this concept, but rather, expands the possibilities of Marcel’s grandiose world and shows us our world from an entirely new perspective. Marcel the Shell With Shoes On is a film with massive ambitions and an even larger heart.

If you were a fan of Beavis and Butt-Head, you will love them doing The Universe. They haven’t changed a bit, even though the world around them has changed. It is delightfully charming and ridiculous and completely expected, in the best way possible.

It's a more conventional, less anachronistic cousin to the Bridgertons of the world, absent of any orchestral pop music covers or scandal that will steam up the screen, but there are still plenty of familiar genre motifs included to satisfy the most ardent of Regency romance lovers.

While Luhrmann can do his best to recreate the glitzy, nonstop nature of Presley’s life, in those final moments, it’s easy to see that Elvis lacked the weight that this real footage captures. It’s that little bit of substance that reminds how hollow the previous hours of style have been.

Father of the Bride has its heart in the right place, trying to adapt this beloved story for another generation and audience, but by shifting too much away from the traditions of the past, Father of the Bride doesn’t have the same magic that its previous versions have been able to generate.

Good Luck to You, Leo Grande demonstrates that sex can be exciting and humorous and pragmatic and transactional all wrapped up into one. Most importantly, it can also be a connection that doesn't require love to leave both people wholly transformed by the experience.

Lightyear is still an extremely fun action sci-fi film that is better than most animated films released in a given year, and will bring a smile to fans of this character.

Kosinski has already made one of the year's best movies with Maverick, and with an extremely intriguing concept and fantastic performances all around the board, Kosinski has for the second time this year made one of the best movies of this summer.

Lost Illusions may not break the mold in the way Goodfellas did, but it does provide a fun, provocative, hilarious, and at times even moving rags-to-riches tale with a protagonist and a setting we have not seen before.

Dominion isn’t just the worst film in this frequently disappointing franchise, it’s also one of the worst major blockbusters in recent memory.

Hustle isn't breaking the mold of what a sports film can be, but it is yet another reminder of Sandler's gifts as a dramatic actor through an extremely charming and compelling story about a mentor trying to help another reach their potential.

For all its faults, Mickey: The Story of a Mouse is at times a charming look at one of the biggest icons of our time, and while this story has been told many times before, it’s never been told with the sort of scope and frankness about how Disney has maybe failed with their mascot.

It isn't swayed by anything other than the truth as it crafts an uncompromising and steadfast deconstruction of whom the artist the world knew as XXXTentacion actually was. Moving beyond the headlines, it emerges as an absolutely essential piece of filmmaking.

Emergency is ambitious and daring in what it’s trying to say and do, but a mishandling of pacing, serious issues, and pseudo-parody hurt what is a truly intriguing concept.

Diwan’s reflective, quiet tone only highlights the sheer dread of this situation, and shows that restriction and taboos about such issues only makes this world a more cruel and terrifying place. With Happening, Diwan has crafted a horror story that is becoming a haunting and very real possibility.

Cronenberg certainly still knows how to create arresting imagery and craft stories that can make the audience squirm, but the story that isn’t being told with Crimes of the Future is far more interesting than the one he has decided to focus on, which often feels like regurgitating concepts he’s already handled before.

Fire Island is a strong update to Austen, full of charm, heart, and friendship, yet Booster's screenplay works best when it is not relying on the source material and having fun with this fun concept. With an excellent cast and a perfect blending of Ahn and Booster's talents, Fire Island is an extremely enjoyable trip.

Through We Feed People, Howard shows how impressive and powerful Andrés’ operation is, often covering large areas that need disaster relief. At certain points in We Feed People, even the Red Cross and Salvation Army are asking for help from Andrés in these truly awful times.

The Bob’s Burgers Movie isn’t exactly breaking new ground for this world and these characters, but instead, is showing how impeccably crafted and brilliant this world is when it's firing on all cylinders.

At the very least, Diamond Hands is an entertaining and informative look at a moment in time when the many overcome the few, but it doesn't land solidly enough to leave a lasting impact.

A New Era shows that Downton Abbey doesn’t have to sacrifice joy to also explore sorrow and pain. Amongst charming tales of Hollywood and French getaways, A New Era delves into loves lost, missed opportunities that leave its mark on our lives for years, and how one will be remembered long after they’re gone.

Chip ’n Dale: Rescue Rangers is an ingenious parody of our IP-obsessed culture that also manages to show how joyous and brilliant this combination and celebration of old properties can be when done extremely well.

Ashford’s screenplay and Madden’s excellent direction all manage to take what could’ve easily been a fairly standard historical war drama and turn it into something more intricate, layered, and surprisingly powerful.

I think this would be best enjoyed by someone who had never seen the original 1984 film; that way, you won’t be constantly comparing the two in your head.

When talking about Top Gun: Maverick, it’s hard not to sound hyperbolic, but this is the rare case where it absolutely deserves all the massive praise. Top Gun: Maverick improves upon the original in every conceivable way (well, the soundtrack doesn’t have Berlin, so that’s one strike against it), and does so in a way that might make this one of the greatest sequels ever made. It’s also hard not to say this might have some of the most exciting action scenes to ever hit the skies, and gives Cruise one of his best performances by returning to the role that made him a star. Top Gun: Maverick is a marvel of a film, one that will truly take your breath away.

It is exciting to watch a writer and director like Garland take a huge swing like Men, even if it doesn’t entirely hold together as tightly as something like Ex Machina or Annihilation. Men is certainly more about asking questions than providing answers, a challenging, strange, and often horrendous journey that certainly doesn’t hold back in terms of weirdness, and wants to crawl into the viewer’s brain.

As a film that highlights Raimi’s talents as both a director of distinct superhero stories, and idiosyncratic horror tales, Doctor Strange works. Yet as a larger piece in the ever-expanding Marvel Cinematic Universe, the Multiverse of Madness starts to show the cracks in trying to continually attempt to build and one-up what came before.

The Survivor is too frequently going through the motions of tried-and-true biopic stories that we’ve seen countless times before, or making choices that seem daring, but ultimately hold back the power of Harry’s story.

The concept is an exciting new vehicle for a spin on some well-worn tropes, giving them a facelift for today's audiences. If this is just the beginning, then the future looks bright.

With a stellar cast and inspired direction, Master is a thrilling and potent horror story about academia that has made its impact.

Okuno is certainly not showing us anything we haven't seen before, indeed these stories are all too familiar, unfortunately. But the skill is not making the horror indulgent. Julia's dread is something we feel distinctly. Monroe, someone familiar with the horror genre, is perfect as our hero who is equal parts determined and terrified.

Tafdrup defangs his feature in the final act, choosing to forego the road less traveled, completely breaking up the tension of an otherwise uncomfortable, tension-filled story.

You Won't Be Alone is overambitious, but it's always better to try to overachieve than underachieve, right?

The conclusion might leave some throwing their hands up in frustration and others applauding its audacity, but it's an ending that will definitely leave you with something to talk about and ponder long after the credits finish rolling.

With little-to-no accountability when it comes to the YouTube industry, Under the Influence makes a clear case that mainstream media outlets should be turning a more scrutinizing eye toward the community, and the community itself perhaps needs to differentiate the difference between what is considered 'drama' and what is a criminal offense.

At the end of the day, Soft & Quiet shows a shocking and unbelievable series of events that are meant to cause a reaction and leave the audience with thought-provoking questions. This is not a film for the faint of heart, and might just leave you a bit shell-shocked in the aftermath.

Umma is a solid entry for Shim's debut with a strong story and standout leading performance from Oh. It examines generational trauma, identity, and what it means to confront your past, and it does so effectively.

There is no simple solution. All Bad Axe offers is a portrait of an American family coming together in a time of conflict and what they can overcome when they stick together, and sometimes that's enough.

Stay Awake is certainly a balancing act of addiction, compassion, difficult choices, that still manages hilarious moments and periods of joy. Stay Awake isn’t just an integral film about addiction, it’s also one of the best directorial debuts of the year.

The Bad Guys brings a deep love for heist films to this animated adventure, and in doing so, creates one of the year’s best animated films.

Accepting the World’s Fair Challenge isn’t a way to experience a The Ring-like challenge that will probably lead to horrors beyond one’s wildest imagination, it’s a way to be part of something, damn the consequences. Schoenbrun’s impressive debut latches onto that idea of online communities, coming-of-age, and finding one’s own people through a genuinely uncomfortable and unique horror story unlike any other.

With Petite Maman, Céline Sciamma crafts a staggeringly gorgeous fairy tale about the little things we don’t get to learn about the ones we love, the struggles of loss, and the loveliness of those that came from the path behind us.

Audiard, Mysius and Sciamma, along with their fantastic cast, create an enchanting and seductive story told through an intimate group of relationships. This beautiful and simple story of young love and finding one's self through love is one of the most romantic and sexiest films of 2022 so far.

Instead of having to explain this universe, The Secrets of Dumbledore can let us sit with these characters reckoning with the loves they’ve lost in quiet and gentle ways, create a captivating and often hilarious action sequence with a multitude of beasts, or explore the history of Dumbledore’s family with subtlety.

When You Finish Saving the World is often acidic to a point that might scare away some, but at its core, Eisenberg’s film is an endearing story of mother and son who were once so close, and now struggle to get what they need from each other anymore.

Lucy and Desi isn’t breaking the mold in terms of biographical documentaries, but when put together in this package, the story of Ball and Arnaz has an impressive weight beyond just a collection of compelling anecdotes.

Gillan gets a great opportunity to show her comedic skills, and Stearns remains a solid purveyor of dark comedy, but Dual’s gloom eventually overtakes the absurdity to a depressing degree.

Pomerantz’s screenplay is deceptively complex, yet it’s pulled off effortlessly. Pomerantz is presenting ideas of self-discovery, lifelong friendships, confusion and uncertainty in who a person is, and handling all this in a remarkably entertaining and endearing story.

Meet Me in the Bathroom is a tremendous document of one of the most integral musical periods of our time, when the kids asked "is this it?" and responded by changing the world.

Emily the Criminal is an excellent example of how to make an effective thriller on a smaller scale.

With only two films, Raiff has proven himself to be one of the most exciting filmmakers today, telling stories that are emotionally honest and lived in, without any pretensions and with an unabashed tenderness.

Jackass Forever is ingenious, disgusting, and one of the most hysterical films you’ll see this year, while also managing to be a wonderfully touching celebration of these jackasses and their history together.

Moonfall, unfortunately, becomes a mixture of Emmerich’s usual clichés that are starting to show their age, a script that only occasionally embraces the insanity of this idea (even though the third act goes all-in on getting mind-numbingly stupid), and a scope that doesn’t do this story justice.

Death on the Nile might have been a long time coming, but it’s one of the most alluring mysteries in years, and a great example of how Branagh can elevate iconic stories with grace and care.

With a great lead performance by Kravitz, a plot that—like the KIMI device itself—is persistently upgrading and shifting, and a shockingly optimistic story despite the fear of the technological world, KIMI is a shining example that Soderbergh is one of the best directors working today.

I Want You Back largely relies on the overwhelming charm of its tremendous cast, and in particular, the magnificent dynamic between Slate and Day, but that’s all I Want You Back really needs.

The Sky Is Everywhere takes a lot of swings that miss, but the heart of the film is in the right place, and when it really works, The Sky Is Everywhere knocks these emotions and ideas out of the park.

After a decade away, Jeunet has returned to embrace all of his worst eccentricities to create an absurd mess.

In the end, the movie is about a delusional guy who doesn't realize he's been indoctrinated, but it is also an emotional exploration of loyalty, camaraderie, and stubbornness.

There are few filmmakers that can make the leap from smaller, insular stories into large-scale epics, but with The Northman, Eggers has proved that his style and substance can remain intact, regardless of the size of the story.

The Unbearable Weight of Massive Talent—even when it doesn’t entirely work—shows the dedication and greatness of Cage, the impressive breadth of his career, and proves that Cage is, indeed, back. Not that he went anywhere.

It’s truly impressive that Fowler has found a way to integrate the wild world and characters of the Sonic the Hedgehog games into the real world in a way that actually works, but it’s a shame that it comes at the expense of the story of friendship that made the first Sonic the Hedgehog film so charming.

All The Old Knives attempts to convince its audiences that it is a tawdry game of chess, but in reality, it’s a game of checkers. Pine and Newton are its saving grace, with their performances elevating it just above the waters of drowning in its own self-importance.

It’s not that Mothering Sunday is a bad film, it’s far from it, but it never reaches the echelons of true greatness that it should have been able to achieve with such a who’s who cast.

Metal Lords ends just when it feels like it’s finding its footing, with its characters taking too much time to address their flaws, leaving the music and the bonds that have been formed via the music, on the back burner for too long.