The Naked Gun's joke-per-minute ratio is truly astounding, and the fact that so many of them hit as well as they do makes that even more impressive. For goodness' sake, even the credits have jokes in them!

By the time the credits roll, Diciannove doesn't give the viewer enough food for thought.

Shoshana may be relevant and powerful, but lacks balance and emotion.

Some jokes run too long, don’t land, or could use another draft. It's a constant stream of cameos, which is overall fun but sometimes a little distracting. But, at its core, the sequel is a good-natured charmer about a troubled everyman who is trying hard to grow up without losing himself in the process, and it gives us a lot to laugh about on the way.

'The Home' is a lame horror misfire saved only by its unhinged third act.

The pacing and comedy feel like they slow down a little at the beginning of the third act, but Ick is largely a very entertaining, engrossing, and endearing take on a classic staple of mid-century sci-fi horror, reworked for the 2020s.

The Fantastic: Four Steps successfully invigorates the MCU, but it’s the tectonic shift that audiences thought it would be.

Finally Dawn can be commended as a homage to Italian cinema and its effort to cater to an international stage, but it stumbles on its ability to follow through on its promises, leaving us a mesmerizing world that ultimately rings hollow.

It's an excellent, if imperfect, crime thriller, capably indicting our era with the same insight that Kurosawa brought to the internet's potential to isolate in Pulse.

Unicorns seems like a much older movie, torn from an era in which queer people were not allowed to tell their own stories, instead being reduced to secondary characters in straight plots.

A messy, confusing and thoroughly unengaging experiment, with the kernel of a good idea underneath.

Smurfs is better than its maligned predecessors, but it's still an absolute mess.

Those hoping to see their favorite killer Fisherman tackle some fun action sequences will get their money's worth, even if the villain's resolution will raise a lot of eyebrows. If you're looking for something deeper, like fleshed-out characters both new and old and a twisted mystery tale, then this newest installment doesn't hit the mark.

Ultimately, Skillhouse boils down to a bunch of stuff that just happens to characters we don't care about, who make choices that don't make sense for reasons that aren't well grounded, in a place that's poorly shot, in order to say things that have been better said elsewhere.

Empathetic human performances turn Sovereign into more than a typical crime thriller.

To a Land Unknown paints a brutally honest and empathetic portrait of the lives of Palestinian refugees.

Brick fails to offer a compelling solution to its central mystery.

Despite its flaws, the film still stands out for its bold visual approach and Golding’s performance to offer a thoughtful yet imperfect reflection on what it’s like to really move on from loss.

Disney Channel's latest sequel has all the bells and whistles, but not much in the way of substance.

Dreams is probably the same old story for Michel Franco fans, but as a first-time viewer, I was in awe of how a film could go so wrong so quickly.

It ends up becoming one of the best DC films in years, and one of the best movies of the summer.

It is at first a beautiful and ultimately tragic story of teenage dreams, lost innocence, and how abusers’ grasp extends far past their victims.

It does slightly fall off in its final act, becoming aimless and stretched, and ending around 30 minutes after it should. But its first two acts are deeply enthralling, and Vicky Krieps' lead performance is an Odyssean tour de force.

The pieces are all there for a perfect summer favorite, so it’s a shame that none of them really come together to form a cohesive whole.

It works for about half an hour, but its excess of panache eventually gets tiring, and the story's seams are just too frail to hold it together. Still, those dance sequences are really something.

The Old Guard 2 feels like nothing more than setup, with scene after scene of dialogue and exposition and little actual fighting.

There's some fun to be had here, but overall, Jurassic World Rebirth feels indicative that this franchise is not dissimilar from what the original film is trying to say about the ethics of cloning dinosaurs.

The sluggish pacing and lack of specific characterization make it feel longer than its hour-and-a-half runtime, though the strong performances and beautiful cinematography are just enough to keep it from ever becoming a total slog.

River Gallo shows not only that these stories are powerful and have value, but can also be beautiful and deeply moving.

If you need a big, dumb action movie with two buff guys to kick back and down some beers while watching, you are in luck.

Some will definitely not be able to buy into the ridiculousness of it all, but if you can, you’ll be rewarded with a great time at the cinema. If you thought after the first movie that this killer doll was just a viral blip in the movie world, M3GAN 2.0 is here to tell you in the most deliciously over-the-top way that you are very wrong.

Sarah Friedland's directorial debut is a visually striking but shallow exploration of dementia.

Don't Tell Larry feels like it really should have been a half-hour episode of a television sitcom rather than a movie.

KPop Demon Hunters is a charming action outing with fun world-building, catchy songs, and strong performances.

Despite Rebel Wilson's signature comedy and her reunion with Pitch Perfect co-star Anna Camp, there is little that can justify an audience member giving this film a chance.

This is a truly immersive experience that makes the best use of every element of filmmaking, and it all comes together to create a uniquely chilling horror.

Quirky characters and an unpredictable story combine for a film that will break your heart while making you laugh.

An exciting and terrifying horror movie, a fresh and nuanced entry into the zombie catalog, a mesmerizing philosophical tale, all packed into a coming-of-age structure, 28 Years Later is one of the best zombie horror movies we’ve been given in years.

F1 is an absolute blast and one of the most exciting films to come out this summer, a film that will put you on the edge of your seat and make you glad that filmmakers like Kosinski are still making films like this today.

But despite how charming and fun Elio is, it still falls prey to some of Pixar’s occasional problems. Yes, this is a story of intergalactic adventures and a wide universe of possibilities, but it still can get a bit convoluted at times.

[Tina Romero's] feature directorial debut, Queens of the Dead, takes the basics of what her dad is fondly remembered for and spins it off in its own distinct style. She is most certainly a Romero in her filmmaking, but you'd never mistake Queens of the Dead for her father's work.

Diablo brings the action, but the movie gets tripped up by a villain who doesn't quite fit the story.

The trio of actors has such chemistry and the movie's sense of humor is so sharp that it is hard not to be captivated by what you are watching.

What Song has done is make an excellent version of those types of romance films from yesteryear, yet one where these characters have depth, layers, and are more considered than we might have received in those films.

How to Train Your Dragon is the gold-star example of how to do a live-action remake right.

Yes, Dan Da Dan: Evil Eye is not a movie, and those who buy their tickets in search of a fully fleshed-out motion picture will certainly be disappointed. But if you know what to expect from it, Dan Da Dan: Evil Eye is nothing but an entertaining ride from start to finish.

Despite the movie's obvious excesses, it is easy to find credible hyperbole for Janiyah's perpetually drawing-the-short-straw lifestyle, where Henson's performance and chemistry with the cast drive forward the socially relevant heart of the film.

Echo Valley is a tense thriller propelled by strong performances from Moore and Sweeney and a never scarier Domnhall Gleeson.

Predator: Killer of Killers encapsulates much of what made the original such a classic, with surprises around every corner and characters that are easy to root for.

A razor-sharp, emotionally-devastating crime thriller where the stakes are high, and chances of justice are low.

Ballerina gets off to a shaky start that almost feels like it misunderstands what has made the John Wick series so much fun for so long. Yet once the absurdity of the action takes hold, and Ana de Armas gets to prove herself as a fitting potential heir to this franchise, Ballerina captures the blunt, chaotic action that this series thrives on.

It might not be a future genre classic, but thanks to Courtney's utmost commitment to his villainous role, you'll be glad you dipped your toes in the water by the time the credits roll.

For a horror-comedy, it's not funny, and it's not scary. It's a very strange amalgamation of little drops of each of these things, heavily diluted within what is largely a romantic drama, and as such, every time it tries to be funny or scary, it feels out of place and uncomfortable.

A Widow's Game sets out to be an intriguing portrayal of a high-profile case but doesn't really hit the mark.

It's not a perfect horror movie, but it has all the right ingredients and is such a great way for someone who enjoys the rougher things in life to spend 90 minutes.

Outside of a few creepy images, The Ritual is not even remotely scary.

Bold, effective, and brilliant in equal measure, Moll’s film is a fine policier in the grandest of traditions, joining a long line of noir-inflected French police dramas unafraid of being more than vehicles for action and retribution.

Resurrection is a puzzlebox to be probed, a dream not simply to be decoded to provide a singular interpretation, but one to be enraptured as you are caught up in its fragmented logic, soothed by its smoke-filled spaces, and stunned by the myriad connections shared between its two central characters.

The undeniable likability of Ben Wang keeps things from sinking, and the marvelous action sequences mark a strong start to Jonathan Entwistle's feature filmmaking career.

Although your mileage may vary when it comes to Honey Don't's tone, what's undeniable is that Qualley was made to play Honey. She's cool, slick, and wildly charismatic.

The Mastermind vascillates between wanting to lean into the thrills of a heist and falling back on Reichardt's tried-and-true formula. The result is a confusing mix of tones with a fairly basic concept that rarely dips below the surface.

If you come solely for the comedic stylings of four powerhouse actors, Mountainhead will certainly win you over if you don't take it too seriously. But should you expect a scathing takedown of Big Tech's best and brightest, the movie will act largely as a reminder that watching a bunch of rich guys spout off ignorant crap inevitably gets old and adds nothing to the conversation.

The New Boy is a movie about how colonization can disguise itself as kindness, and how that kindness is still violent and destructive.

It's not breaking any new ground, but Prom Queen is a solid enough teen slasher that does a nice job of continuing the ever-expanding universe of R.L. Stine.

Artfully combining song, romance, and unique settings, Oliver Hermanus offers a heartbreaking and emotional film that reminds us not only of the enduring nature of love but also the power of sound and song.

Trier's understanding of complex family relationships and his ability to portray them honestly make this yet another win for him and a solid entry into his filmography.

It's a film that you start desperately wanting to like, perhaps because it deceives you into believing it is something other than a violent power fantasy. As the film comes to a close, all that is left is a sour taste in your mouth.

It's a perfectly watchable movie that feels designed to keep you entertained for two hours on a rainy Sunday afternoon.

An unrelenting and visceral experience, Julia Max's feature film debut boasts unique and enthralling horror that is more than worthy of haunting your screen.

Despite beautiful shots and strong performances in the film, what ultimately comes up lacking is the story.

In the end, Splitsville is a lot of stupid fun told smartly, unafraid to lean into the salacious while still somehow maintaining an emotional groundedness.

Eagles of the Republic's greatest strength lies in Fares Fares, who is all too convincing as a superstar actor in Egypt, striking a delicate balance between his comedic scenes and dramatic ones

Lilo & Stitch feels like it was made by a boardroom of folks who wanted to sell more Stitch merchandise. Chris Sanders and Maia Kealoha have enough charm to keep families entertained, but it's also hard to deny that these two characters are just as, if not more, endearing in a film you can watch right now on Disney+.

While it's far from Lee's best, Highest 2 Lowest is an entertaining watch, and for lovers of Denzel Washington, it's a must-see.

Moving, emotional, and ultimately cathartic, Renoir is a quiet and stirring coming-of-age story that reminds us of our own childhood and the impactful time that can be.

Ducournau's story is brilliant, but without the leading actors of the film, the movie wouldn't have been nearly as impressive.

Laxe is aiming to shock the audience, and in that, he succeeds, but the final product suffers as a result.

With a phenomenal performance from Frank Dillane and a thoughtful, open approach to those who lose their way in life, Urchin is a worthy contribution to the cinematic portfolio of British realism.

The ensemble is the main reason why the film has its delightful instances, especially when it comes to the scenes in which He, Ka-Yan Lam, and Chau are featured. But, ultimately, the script lacks the originality or the character development necessary to give its multiple couples their ideal sendoffs.

There’s so much joy in this telling, so much sophistication of craft on display, and such a delightful ode to this exemplary era of creativity, that it seems downright churlish to hold back for the sake of performative reticence.

Part caper, part spy movie, and part family drama, The Phoenician Scheme feels both like a return to form for Anderson while also feeling like an evolution for the auteur as his style changes bit by bit.

Die, My Love is further proof that no one is doing it like Lynne Ramsay, whose technique and style continue to evolve, as she draws out a career-best performance from Jennifer Lawrence in a must-see thriller spectacle that turns a single woman’s experience into a brutally honest psychological epic.

Far more thoughtful and provocative than your average action-adventure, The Old Woman With the Knife is a thrilling update to the genre, leaving us with a hole in our hearts as the credits roll.

Under the right circumstances, the story that The Trouble with Jessica tries to tell could work if it paired its comedy with a meaningful perspective on depression and self-harm. Instead, this misguided take on a dark comedy ultimately lacks laughs, thrills, and overall reverence for severe topics.

All held together by a transcendent performance from Imogen Poots, The Chronology of Water isn’t the strongest directorial debut, but it does hold glimpses of what Stewart is capable of.

With Joaquin Phoenix at the height of his abilities, Eddington is, if you look close enough, just as, if not more terrifying than anything Paimon or a Swedish cult could ever unleash.

The Sound of Falling may be one of the most grim films on the female experience you’ll ever see, but it never rises above this darkness to deliver anything illuminating about being a woman.

Bring Her Back captures the darkness and fear of losing someone, all while making one of the year’s best horror films. It’s that mixture, like with Talk to Me, that makes Danny and Michael Philippou two of the most exciting filmmakers in the genre.

It's clearly intended to be a companion to and showcase of the simultaneously released album instead of a fleshed-out, standalone film. Regrettably, it never lets the audience forget that fact, feeling far more like a long music video than a feature film.

To anyone interested in the history of film, Champagne includes the earliest known examples of freeze-frame techniques, highlighting how innovative Hitchcock was.

The Final Reckoning is stuffed, convoluted, and ludicrous at times. But it’s also mostly a great send-off to this universe, a deserved celebration for everything this series has accomplished, and one final (again, seemingly) showcase for Cruise as one of the greatest action stars of all time.

If you don’t like horror movies, then don’t go see this movie. This isn’t for you! This is for the Final Destination fans who’ve waited patiently for over a decade. It’s also for those who enjoy a ride of a movie that will raise and drop your heart rate multiple times over an hour and 47 minutes. With horror franchises constantly coming back from the dead, Bloodlines is one of the freshest we’ve seen in a while. It’s the perfect blend of going back to basics and cooking up something new, drenched in blood and snapping bones.

Juliet & Romeo isn’t necessarily a good film, but it is a very fun film, and there are far too few films that seem content in simply entertaining for the sake of entertainment.

Where Wick Is Pain takes things a step further is with a deep dive into the difficulties of making a movie in general, not just a big flashy neon-laced action flick.

Lilly becomes a chiseled-down Wikipedia summary version of a life, dipping in here and there to show you the big moments, but in the process, characterization and emotion are stripped away.

Its talented cast and tender heart do a lot of the heavy lifting, but it's the kind of movie the mothers in your family will absolutely love.

Eubank's direction has a tenderness for its characters and for the little worlds they build around themselves, bursting full of hopes and dreams that we really want to see them achieve.

Chaos ensues, dozens of better movies are ripped off, and despite a few fun kills, it leaves you feeling not very much of anything.