The latest action-comedy from Black proves that he's still capable of delivering an equal parts funny and action-heavy comedy with all the trademarks that make us love him as a filmmaker.

It's a silly movie, make no mistake, but it's an endearingly one nonetheless.

Kung Fu Panda 4 is a film all about deciding to not do the easy thing of remaining stagnant and comfortable, but rather, trying something new and hopefully finding the greatness in the new opportunity. Kung Fu Panda 4 similarly does this, attempting a new approach to this world and mostly finding success, while also potentially setting up the future of where this series could go.

The two leads are so charming, the jokes are genuinely funny, and the kills are delightfully gorey.

By the end of Not Alone Anymore, it's clear that Matlin is far from a star who burned too bright once, and her light has not dimmed at all. If anything, she's been working steadily and surely and despite the years of solitude, thanks to her creating the path forward, she is not alone anymore and won't ever be again.

It could innovate more thoroughly and ground its antagonistic plot with stronger internal logic, but it's a solid action outing that's well worth any audience's time.

Even as it comes awfully close to overstaying its welcome just a bit, much like the spiders in the home of the characters, it very quickly grows on you.

Each subject is so rich and nuanced that any single one of them could carry the documentary as its sole focus.

It doesn’t deliver a knockout like some of Miike’s other films, but it still manages to beat all it has working against it into submission. One can only hope it manages to beat the odds again and find the audience it deserves.

While Ma’s script can feel broader than one might like when it comes to the core dynamic between Sara and Sumi, it thrives as a love story and character study and offers enough heartwarming moments of humor to make it well worth your while.

It sits in your chest like a cough you can’t get rid of, and there’s promise in its bones of what might come next for the Aussie directorial duo.

The Lost Bus may not reach the heights of some of Greengrass' finest work, but that's a high bar to reach. Thanks to some immersive setpieces, grounded performances, and stellar direction, the latest film from Apple TV+ rises above its shortcomings, resulting in a gripping docudrama that is worthy of your time.

Moana 2 explores the possibilities of this universe, and builds on the bond between Moana and Maui, but stays a bit too close to the original's formula.

It lacks the electricity of his past works but, as we come to see, the lifelessness of it all, is, in many regards, the point of the whole thing. It's about carrying on when nothing makes sense.

This third Avatar film might not have the groundbreaking impact of the first film, or the vast improvement that The Way of Water had over what came before it, but Fire and Ash is still an exceptional moviegoing experience that proves there’s still plenty of gas in this tank.

I’ll Be Right There is a light, breezy way to spend a little over an hour and a half filled with some genuinely funny gags, top-notch dialogue, and solid performances.

Meet the Barbarians provides a light yet engaging look into how communities are built and maintained, and how differing aspects of their identities can form something better when people of disparate backgrounds are brought together.

Despite its sometimes rocky editing and crowded ensemble, First Time Female Director does what it sets out to do: make you laugh and laugh hard.

Empire Waist features a moving tribute to friendship dressed up in a bright, colorful package.

Adams and McNairy give two fantastic performances that showcase the confused, overwhelming situation that first-time parents find themselves in, and Heller juggles this fantastical high-concept idea with very real emotions and powerful statements.

Through its exploration of Navajo culture and life on the reservation, as well as the troubles and beauty of that community, Rez Ball smartly explores dark topics in a way that doesn’t suffocate the underdog story within.

As your run-of-the-mill newsroom thriller, September 5 proves to be a riveting watch with two stand-out performances from Sarsgaard and Magaro and compelling direction from Fehlbaum.

Azrael is both familiar and unique, blending genre comforts with a risky idea. Luckily, it all works, paying off a relatively massive gamble that benefits from Samara Weaving's star power.

Get Away is a deceptive blast that properly exploits vacationer stereotypes to conceal vastly more wicked intentions.

Thought-provoking and poignant, In Flames isn’t an easy conversation, but it is a necessary one that rests its narrative on the pervasive gaze of patriarchal oppression.

In the end, All That We Love is a film about permission: permission to grieve in our own way, to allow others to do the same, and to know that we are still worthy of acceptance, even in our less-than-perfect moments.

The Gutter demands that you’re on its wavelength, but once you’re there, it’s like continual machine gun fire the way jokes and sight gags fly off the screen.

Ahn’s feature debut is ultimately a beautiful, sensitive love story showcasing the healing power of unexpected human connection.

It’s like a good theatrical production. It’s often charming and more than a little chaotic.

Malcolm Washington shows himself to be a capable director, expanding this story in the ways he can while staying true to the source material. This cast also knows how to elevate Wilson's words beautifully, whether it's sticking close to a more stagelike performance or bringing new life to this story, as Deadwyler does.

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.

We feel very much like we are in the thick of it when watching, as if we're in the room as the story develops.

Altogether, it's a solid dark comedy in the trappings of a psychological horror film.

The idea is good, but in practice The Prosecutor doesn't fully feel like a legal drama, nor does it feel like a martial arts film. It's a decent film with strong direction, but laden with regrettable missed opportunities.

John Magaro, Steve Zahn, and Dylan Baker lead a cast of stellar character actors in a film that winds up being one of the better Fargo-adjacent movies we’ve gotten in some time.

Morris' strength lies in the interviews he conducts and the narrative he's capable of creating through them. The director is not at all interested in making a straightforward adaptation of O'Neill and Piepenbring's book, instead chatting with many actors involved in the Manson case, from Bugliosi to Manson family member Bobby Beausoleil.

The sci-fi thriller certainly has some bumps along the road, but a dedicated performance from Jessica Rothe helps amplify it into an intriguing ride that cleverly showcases the actor's impressive range.

Unfortunately, where the film falters is with its other star, the aforementioned Chris Hemsworth.

The Parenting, which boasts an impressive cast including Brian Cox, Parker Posey, and Edie Falco, takes itself just seriously enough to maintain the impact of both the horror and the comedy, and while it doesn't end up being the most original or breathtaking thing you ever saw, it makes for a fun ride with a lot of character and plenty of heart.

The Bibi Files may not be the poison pill that knocks the Netanyahus from power the way that those on screen may be calling for, but it’s still a powerful presentation of the facts without ever devolving into being a mere polemic.

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.

Shelby Oaks is a promising debut from Chris Stuckmann that’s equal parts eerie and soulful despite some third act shakiness.

There is no other horror film you’ll see this year as incessantly cruel and mean-spirited as The Coffee Table. This is both a compliment and a criticism, as, while the film is plenty committed to twisting the knife into its audience, it can also be rather repetitive before rushing to the finish.

Chestnut is an effective and enjoyable if rather simple and slight coming-of-age movie about a unique time in a person’s life that few filmmakers have chosen to focus on.

Dahomey may not be for everyone. Unless you’re a history nut or anthropologist, there will be lulls when you find your concentration lagging. However, at a runtime of just over an hour, Diop makes every shot count and packs centuries of history, injustice, and triumph into a dense but vivid documentary.

Much like the character he plays, Mikkelsen does a lot with very little, giving life to a barren world that is often defined by death and suffering. It is in his piercing stare that we are taken into the entire interior world of tumult he is trying to contain.

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.

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

Unafraid to lean into Isla's naivete, Rankin's performance playing off both O'Rourke and Gleeson is what places her at the center of this tale and makes it worth watching.

Much like the setting it depicts, Sunfish (& Other Stories on Green Lake) is a quiet little gem with much more to it for people willing to take the time to look beneath the surface.

Hell Hole is a solidly gory, goofy little ride that cuts through any hiccups to get to the meat of a madcap indie monster movie.

Flow takes a fascinating and effective approach to animated stories and shows that the barrier between the two types should be broken down more often.

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.

The Smashing Machine boasts strong performance, but the film hits fairly generic story beats.

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.

With two movies under their belt, Statham and Ayer have proved to be the perfect match for delivering entertaining and simple action flicks to the big screen.

Stevenson's debut feature is a smart handling of horror with imagery that won't soon leave your mind, elevated by an uncomfortable performance by Free. Stevenson shows how to bring a franchise back from the dead, and proves that maybe this series doesn't have to be all just for Damien.

Buddy is a blood-soaked nightmare full of dark humor and surprisingly touching moments. Like its title character, Buddy isn’t just fluff, there’s something deeper inside.

Gail Daughtry and the Celebrity Sex Pass is as unhinged as the name implies, and it’s exactly what we’d want from Wain and Marino. These two have proven that their brand of comedy hasn’t gotten old over the decades, and thank goodness they’re back making the most insane movie comedies out there.

It's a beautiful tribute to a legend, packed with footage and interviews that highlight his accomplishments and unique talents, though at times a greater focus on John Williams the man, or a follow-up on certain thought-provoking threads, would be welcome.

There is much about it that remains imperfect, especially in terms of some of the broad character beats that it begins with, but it proves to be proper fun once it gets going.

It’s a weird film that eventually gets lost in itself, but there’s still much to be appreciated.

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.

Even when it can risk falling into being a little repetitive and dulling its impact, it will swerve in just the right way to keep you on your toes.

Demon Slayer: Infinity Castle boasts stellar action, animation, and some wonderful performances, but it would be better as episodes than as a standalone film.

Upgraded is still worth the watch for the couture, the comedy, and the Devil Wears Prada-esque journey of self-discovery.

Rainn Wilson gives one of his best performances in this compelling action comedy.

The Best Summer takes the audience on a summer road trip with some of the biggest musicians of the '90s, and it's a blast to be along for the ride. Davis' collection of videotapes makes this feel like we're coming across a collection of private moments, rather than a concert documentary.

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.

Schimberg’s exploration of identity and representation has the best of intentions, but the more audacious aspects of A Different Man often overwhelm the interesting themes at the center of the film.

If you're in the mood for a good slasher flick that doesn't try and reinvent the genre, then All My Friends Are Dead is a perfect fit!

Brats serves as not only an enjoyable walk down memory lane but also something deeper and more self-reflective.

It’s a fun romantic romp, filled to the brim with gorgeous scenery, gorgeous clothing, and beautiful people.

The Grand Finale tries to bring some weightiness back into this world, and, for the most part, it works with a fitting conclusion to this universe.

It's certainly not Francis Ford Coppola's most well-known war movie, but Gardens of Stone is a pretty decent one, and does feel somewhat underrated.

Ready or Not seemed to close the book on Grace's story, but Here I Come effectively shows that there are still potentially chapters to explore in this tale. Did we need a sequel to Ready or Not? Probably not. But hell yeah, it's great that we have one.

It features a predictable love story with two charming leads, spicy but comical all-male performances, and a fast-paced plot that will pass you by. Beware, this isn't a groundbreaking watch by any means. It is just another cozy title to keep you in high spirits while you sip hot chocolate and control the urge to unwrap presents before Christmas Day.

So while the familiarity is felt throughout, it's hard not to cheer, chuckle, and cringe at all the chaotic mayhem that unfolds in Nobody 2. It's not trying to be anything other than an ultra-violent late summer action flick, and if you go in expecting to watch some gnarly kills, brutal fist-fights, and gun-fu, you'd have to think pretty hard to feel disappointed.

While hardcore fans won't learn anything they didn't already know, 'The Beach Boys' documentary is a perfectly entertaining love-letter to the SoCal band.

Emilia Pérez boasts a remarkable trifecta of performances, but Jacques Audiard's ambitious project tries to do a bit too much.

An eerie, well-acted stroll along the well-trodden path of pregnancy horror.

It's a tense, mostly successful thriller with a talented cast, but greater artistry in the thematic development and greater novelty in the plotting would enhance the freshness of the crime drama.

Harris and Dormer are the best of frenemies in this sneakily stupendous character study, as relentless as it is mysterious.

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.

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.

Director Chloé Robichaud's fourth feature film is a fun and sexy romp that discusses infidelity, marriage, and being a mother in our modern age.

Even the most jaded may be swayed by Perry’s latest demonstration of his skills at making movies that work simply but that also simply work.

Night of the Reaper succeeds in Christensen's goal of bringing something new to the horror genre, and keeps the audience engaged, mystified, and on the edge of their seats.

The McManus brothers have crafted something that manages to be both sprawling and intimate, complex yet without becoming convoluted. Redux Redux is a strong indie sci-fi film that will make you excited to see what the McManus brothers have up their sleeves for next time.

Adulthood is a film with three-dimensional people who are good for some laughs due to their reactions, but the surrounding plot is high-stakes and filled with suspense. Every single time you think you know where it's going, a new twisting avenue carries us somewhere else.

Through sensitive portrayals by Glaser and Schwerdt, and a moving sequence featuring Anderson, the new Palacio adaptation once again proves that kindness is the remedy to evil, and it is never too late to choose the high road.

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.

Burton’s vision from 1988 remains fully intact. If anything, he has expanded on world-building. It’s the best possible outcome from the studio’s blatant cash grab as a singular vision is rigorously and thoughtfully preserved in the storytelling.

As audience members, we experience the highs and lows of the Pelletier’s journey together, never divorced by what drove the desire to experience the world, and reminded throughout how in our own lives we must, whenever possible, make the same choices to seize the moment and make good memories as best as we can.

Heavier Trip is another gift to metalheads that has me hungry for a third, hopefully with a return to the more renegade nature of their original kitchen-sink odyssey.

A tense atmosphere and great acting make up for some lackluster characterization choices.

Guillermo del Toro's passion project is beautifully crafted, but can be quite exhausting to get through.

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