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.

Leave the World Behind is a smart, compelling take on the end of the world, and proves Esmail is a writer-director who deserves larger-scale projects like this after his television successes.

The Wedding Banquet is a classic rom-com with modern touches that rarely ring false or feel heavyhanded. The entire ensemble is top-notch, allowing beloved actors like Gladstone and Yang to do something slightly different from their usual fare.

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.

The Day the Earth Blew Up: A Looney Tunes Movie shows just how much life there still is in these characters and this world, and that they’re malleable enough to continue providing entertainment to every generation. The Day the Earth Blew Up is the welcome back that the Looney Tunes have long deserved.

The movie is one of those films that beautifully encapsulates life experiences, but breaks your heart in a way that you don’t immediately want to revisit it.

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.

Sometimes I Think About Dying is a dark comedy of restraint and quiet, but that silence holds an incredible amount of power and emotion. Ridley gives what might be her best performance, and Lambert knows exactly how to balance the delicate mood of the film.

Led by brilliant performances all around with a simple but effective story, A Quiet Place: Day One may not be the most horrifying alien film, but it stands apart from its predecessors while staying true to why so many people love this franchise.

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.

Out of Darkness is an often jaw-dropping horror debut that arrives at a more substantive conclusion that makes everything more interesting in retrospect.

Ne Zha II is a bold, action-packed, interesting celebration of Chinese legend, wrapped around the story of a growing boy who wants to determine his future. The new English dub translates these characters well to the screen, and its visuals are beautiful companions to the large-scale story.

Instead of glorifying men at the top of their game (well, at least Keane), it’s a fascinating, funny, and smart breakdown of how one argument served as a microcosm for centuries of conflict, cultural values, and men’s egos.

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

Etzler carefully walks the line, taking a dark subject and ratcheting up both the tension and the humor until the two are inextricably linked, making for an entertaining and unpredictably exciting debut.

[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.

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

Spy x Family: Code White is a fun journey with the familiar characters of the series though doesn't add much of anything new.

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.

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.

Torres' humor might be too niche for some, but Problemista shows that it can be used to tell a compelling and heartfelt story for the masses.

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 strange and very busy movie, but it has a chaotic kind of charm to it that'll appeal to those who like bold and oftentimes ridiculous comedy movies from this era.

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.

V/H/S/Halloween is dark and demented, and is the funniest movie of this franchise. But if the V/H/S series just turned it down a notch and tried some different storytelling formats, the next one could be even better.

Dead Man's Wire is a successful throwback to the classic crime stories that once dominated cinema.

In three hours, Cameron turned this Avatar nonbeliever into a viewer who can’t wait for a new sequel every two years. Avatar: The Way of Water truly feels like a fresh start for this series, as Cameron and his team address the weaknesses of the first film, improving the script and characters, while also creating one of the most extraordinary experiences one can have at the theaters.

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.