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.

Ultimately, whether or not you will enjoy the new Scary Movie will depend on whether or not you liked the previous five. If you did, this one will feel like a silly reunion with an old friend. If you didn't, this one will not change your mind about the saga's over-the-top antics and gross-out shock humor.

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.

Full Phil accomplishes the rare task of making the viewer less and less sympathetic to these two exhausting characters.

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.

Every time you think the film might finally actually step into the horror arena, it takes a step back and instead indulges in empty titillation. This film is for people who already love Refn's work and are willing to look past any faults to simply rejoice in his return ten years after Neon Demon. But after walking out of Her Private Hell, the movie has me thinking that perhaps Refn should have stayed dormant another 10 years if this is the final product.

Equal parts heinous and hysterical, Travolta’s attempt at screenwriting and directing will go down as one of the most atrocious debuts ever committed to screen.

Paper Tiger hits all the notes you’d expect from an '80s-set crime drama, but the film lacks anything else to make it stand out from the rest.

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.

Is The Mandalorian and Grogu the worst Star Wars film ever made? Far from it, as there is much fun to be had here. Is it the best in the franchise? Also not the case, as it could very well be the most forgettable and inconsequential entry the franchise has produced yet.

Ghost War wants to feel like a bigger, sharper return for the franchise, but it too often settles for the safest version of itself.

I'm never one to complain about a 98-minute action movie, but, in the end, In the Grey feels rushed. Some extra time could have not only paid off all that planning Sid and Bronco do in more impressive ways, but also given the characters more space to feel like actual characters, as opposed to just standard-issue tough-guy archetypes.

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!

Though Apex's story largely just updates survivor-thriller tropes we've seen many times before, it's effective enough in its repackaging that it's certainly worth firing up on Netflix during a lazy night in. The physicality of Theron's performance, along with the film's vertigo-inducing cinematography, ultimately make Apex an adventure vacation from hell worth taking.

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.

Unfortunately, Lee Cronin's The Mummy is so focused on replicating other horror movies and relying on familiar tropes that it honestly has very little in common with the bandaged monster it's supposed to be about.

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.

Outcome is clearly coming from a personal place for Hill. It doesn't come across as too bitter or full of self-pity, but the point of the movie is never made fully clear. It moves at too quick a pace to leave much of an impact, and it's a bit of a tonal nightmare.

I imagine there are a select few out there whose taste in comedy earnestly leans towards the likes of dadaism, and they might find actual humor in this almost anti-comedic story. There are perhaps a few more who will get the odd sensible chuckle out of the movie and forget it ever existed within a month.

For all its visual polish and strong performances, Faces of Death remains caught between commentary and replication. It wants to critique our obsession with violence, but it can’t quite resist indulging in it, too. The result is a film that feels acutely aware of the cultural moment it inhabits, yet strangely hesitant to push beyond it.

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.

Drag makes the most of its fairly simple conceit.

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.

They Will Kill You is an undeniably fun and berserk action film that relies on the style to make up for the lack of discernible substance. For the most part, They Will Kill You pulls this off, and it’s easy to get caught up in just how much this cranks itself to 11.

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.

Sender wants to put us in the perspective of an addict, but instead, it always leaves the audience feeling like it’s missing something, not quite in step with what the film is trying to express. Goldman has a lot on his mind, but Sender sometimes feels like when you have too many ideas, and you try to say them all at once, but it comes out garbled and confusing.

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.

Tow isn't a movie that anyone will outright hate, but it squanders so much of its potential that it fails to deliver the important message that it wants to share.

As it stands, Vampires of the Velvet Lounge is exactly what it seems to be: a messy, mildly entertaining vampire movie that works best when you’re only half watching it.

What starts as a more violent Mr. and Mrs. Smith takes an unexpectedly brutal turn, becoming borderline unamusing. Taccone pushes himself to try and break from his usual comic mold, but with Over You Dead Body, he ends up pushing too far.

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.

Pretty Lethal is at its best when it’s a straightforward film about bloody fights and survival. This isn’t the most complex concept, and when the movie tries to include unnecessary details, it stops the narrative dead in its tracks.

Wardriver feels familiar. It's Dane DeHaan that makes it worth investing in. If only they had gone deeper, Wardriver could have lifted itself past expectations into something more compelling.

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.

Compared to his other recent work, Carney’s latest pulls back a bit on the music and leans more into the comedy side of things, yet Power Ballad maintains the heart and optimism that is brimming from all his films, and hopefully, it will get the attention it deserves.

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.

Einbinder, Reynolds, Gluck, and Theroux are appealing as a team, but Strouse doesn’t give them any weight on their own, which leaves this story feeling fairly one-dimensional. Seekers of Infinite Love will, unfortunately, leave you searching for more.

I Love Boosters is full of major swings and plenty of individual concepts that could take up an entire film, yet Riley balances everything this movie is trying to do quite well.

In spite of its faults, Vanessa Caswill's latest directorial effort offers a pair worth rooting for and winning romantic leads, proving that Monroe and Withers have what it takes to captivate audiences in a genre that they haven't previously been linked to.

Through Wang's astute direction, some moving performances, and well-rounded vision, it is just as provocative as it needs to be, while making for a very entertaining watch.

The Pout-Pout Fish is not bad by any means, but don't go in expecting a new animated classic. Little kids will probably enjoy it for the innocent, lesson-filled, mild fun it is, especially if they've been introduced to what inspired it first. There's nothing wrong with that. It's what The Pout-Pout Fish aims for, and it achieves the goal.

Lord and Miller have created a new sci-fi classic, an incredible adaptation of Weir’s novel, and a film that deserves to be a part of 2027 Oscar consideration already. With Project Hail Mary, Lord and Miller have crafted a film that’s truly out of this world in every possible way.

Dolly is a miss of considerable proportions.

War Machine does indeed struggle to stand out in a crowded subgenre of alien invasion movies, but it also does enough to likely satisfy action and sci-fi fans. There are glimmers of brilliance with Ritchson's surprisingly nuanced performance in the lead role and at least one truly great action sequence, but just about every other aspect falls into "just fine" territory.

What keeps the movie going when the script starts to run out of ink are the brilliant performances all around.

Either the twist needed to come earlier, or the filmmakers needed to do a better job of making sure it provided enough of a jolt to make the previous, largely generic 85 minutes worth the effort. As it stands, Protector's twist ending feels adrift in a movie that's not compelling enough to support it.

The Immortal Man, while obvious at times, also gives you everything you could want in a Peaky Blinders movie. There's angst, there's violence, there's sex, explosions, and swagger.

The Bride! embodies an unconventional and rebellious nature that makes it wholly unique. Whether it's aware of its flaws or not, it's not ashamed to lean completely in. In many respects, The Bride! can come off as being just a little too much. Too much romance, too much theatricality, too much feminism — but sometimes, too much of a good thing is still a good thing.

The Napa Boys, written by Corirossi and Armen Weitzman, is a ludicrous concept that quickly throws you into its style of comedy and doesn’t hold your hand.

Hoppers is an absolute delight, setting the bar high for animated films this year, while creating a film that reminds us just how amazing Pixar still is at making new, exciting worlds and stories, without relying on sequels.

Scream used to poke fun at the silliness of horror movies and laugh at the genre's clichés, but now, it’s indistinguishable from the films it once gleefully lampooned, in what is easily the worst installment so far.

It might not answer every lingering question or fully offload his tensions, but it does capture something more elusive and wholesome.

Ultimately, Kermani's film is not strong enough to be called a complete success. Its lackluster ending and uneven characters weigh it down from potentially becoming a cult hit.

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.

There are fractured elements that, with a little polish, could’ve been something much more, but this is just a generic, unremarkable horror film.

This Is Not a Test won't give you shivers, but its zombie invasion will leave you hopeful.

A vital documentary, Teng gives an intimate look at not only the toll the genocide has had on Gaza, but on the first responders who can do nothing but give their everything, even as the hospitals they work in become military targets of bombings, and survival is far from a certainty.

How to Make a Killing is a fun, albeit flawed thriller drama with a mildly dark sense of humor.

While it may not be for everyone, it is a love letter to and for genre fans, demanding the same kind of twisted, unconditional love it plays around with.

It's got the heart, humor, and wonderful animation to keep you entertained this holiday weekend.

While the film's reliance on established crime stories dips a bit too much into the realm of cliché, the overall result is a thrilling ride that's fun to watch, from its quietest character moments to its loudest chase sequences.

Even if The Musical isn’t always a hit, it’s worth it when the film does find its high notes.

Stanton has done truly incredible, groundbreaking things in animation, and he’s almost certainly got a great live-action film in him, but In the Blink of an Eye makes one wonder if Stanton should go a bit smaller and work his way up to such grandiose concepts like this.

There are no easy answers, and Nuisance Bear presents none of them.

Emerald Fennell's film is merely telling a shallow story about two people overcoming all obstacles to fall in love — not necessarily awful on paper, but it's an adaptation that feels like a 14-year-old skimmed the book and jumped to her own conclusions without any true understanding of the novel.

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.

Granted, the footage itself and the intense quest to save these eight still make Hanging by a Wire a documentary worth seeking out. It’s just one that doesn’t have as much depth as one would hope.

Even though zi isn’t quite the powerhouse of independent cinema that films like Columbus and After Yang were, it does feel like the work that Kogonada needed to do in order to right his sails and figure out where to go next.

This Strangers trilogy was an ambitious concept that quickly became a disastrous failure that completely misunderstood this series to begin with. Even after all this build-up, this final chapter fizzles out to an underwhelming conclusion of a journey that wasn’t worth taking to begin with.

Does Exit 8 work as a film on its own? Yes, it does, but it likely works best for those who've played the game before and are familiar with the concept. Otherwise, the tedious nature of the game that is duplicated in the film can feel like more of a chore than entertainment. As a lover of the game, it felt like the perfect adaptation, but, much like the game, the film isn't going to be to everyone's taste.

Poulter's acting keeps it afloat ultimately, but there are moments when the desire to focus on the recovery journey overshadows the actual story at the heart of the film. Ultimately, Union County is a respectable debut for Meeks, but in trying to do too much, it fails to land on solid ground by the time the film is over.

Luc Besson's Dracula is weird. Really weird, borderline nonsensical at certain points. That being said, its great take on its title character is enough to call this one of the Leon: The Professional and The Fifth Element filmmaker's strongest in recent years. It takes a lot of swings, and while not all of them hit, it nails the stake in the heart of what makes this story so timeless and special.

The best thing Whistle has going for it is that the "monster" is actually pretty creepy, and the rules created behind what it does are intriguing enough. The gore and death scenes are effective, pulling in the viewer, as the character building pushes them away.

Cold Storage is a far better movie than you'd expect, thanks to its clever script, committed cast, and energetic direction. If you are hankering to watch more of Joe Keery battling monsters in the wake of the Stranger Things finale, this is just what the doctor ordered.

Ha-chan, Shake Your Booty! will likely gain criticism for its simplicity and earnestness, but I would argue those are the very things that make it so special and effective. It’s also an enormous triumph on a craft level, with stunning direction buoyed by equally gorgeous production design and cinematography. Throw in moving performances and beautiful choreography, and there’s no doubt you’ll be moved to get up and shake your booty, too.

The Gallerist is a disappointment, especially considering that Yan’s last movie as director was the vastly underrated DC film, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) from 2020, a hyper-stylized, playful, and unconventional take on the superhero genre. It would’ve been wonderful to see that version of Yan here, creating an unhinged look at the art world that was experimental, spirited, and daring in the way that film was.

With heartfelt and emotional performances by the cast, See You When I See You is a stirring tale about survivor's guilt, grief, and reconnecting in the wake of tragedy. Though the film hits on all emotional notes, there's one crucial setback that holds back an otherwise moving story.

The Shitheads is an enjoyable, dark take on the buddy-road comedy that could've maybe used a bit more finessing, but hopefully this isn't the last time we see Blair try this type of comedy.

I Want Your Sex proves that every generation needs its own Araki film.

By refusing to engage with messier material, Queen of Chess ends up being a rather straightforward, feel-good documentary, and that’s not necessarily a bad thing. Though it hits familiar biographical beats, Kennedy’s direction always keeps your attention and celebrates a remarkable woman whose amazing story deserves to be told.

The actors do well working in Manuel’s specific directing style — one that’s characterized by unhurried dialogue — it’s just that the style doesn’t always resonate, tamping some of its power instead of enhancing it. Filipiñana is a feast for the eyes, but you’ll likely still leave hungry due to the punishingly slow pacing.

With undertone, Tuason has created one of the few horror films that’s even more horrifying to hear than it is to see.

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.