It's a fun movie to watch just to see how Presley even keeps up with the constant changes in this young girl. His reactions are funny, and it's a very playful movie that many people don't really talk about.

For better or worse, Kostanski's throwback creature feature wants older horror fans to feel like their childish selves again — as long as their childhoods were filled with Charles Band and Pee-Wee Herman.

Where the script falls short, Norton and Dunne pick up the slack and carry these characters through to the finish line.

Even though the cast helps to nurture the sense of nostalgia in the film, it doesn't prevent the screenplay from failing to match the tone of the OG series.

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.

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.

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

While parts of it are laudable, unfortunately, Emmi’s film feels underbaked, never truly elevating its story to generate the kind of deeper effect that similar thrillers have managed to elicit.

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.

Crater's stakes are low for its characters and the audience. It abuses clichés, never deviates from its formulaic script, and fails to surprise the viewer.

V/H/S/Beyond falls in the middle of the pack for the franchise. It's not as terrifying as the first film, and nowhere near as bad as V/H/S/Viral. Instead, it's more on par with recent entries.

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.

When it's sexy, violent, or bonkers, it's a wildly enjoyable romp, and lead Sydney Sweeney kills it any time she's allowed to dial emotions up to 10 (as fans of Euphoria or Immaculate can attest to). Was it great? For the majority of its runtime, no. Would I watch the sequel it teases? Yes. Inside you are two wolves, and if they're watching The Housemaid in different parts, the one watching the ending is the happier wolf by far.

Caught Stealing, on the surface, doesn’t look like what we expect from an Aronofsky film, and yet, once you dive deeper, it seems like the most obvious version of a dramedy crime-thriller that the director could make. The film isn’t afraid to get its hands dirty and go to some truly dark places, yet it always manages to come back to a place where this story becomes entertaining again.

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.

Carousel definitely has some rough edges on the fringes of this romance story. But when Lambert gives us the quieter moments of Noah and Rebecca, or puts them together in a scene, it’s absolute magic.

Dragon Ball Super: Super Hero is a fun movie that knows how to use its humor and has fun with the fights, but it’s very conscious that you need to care about those characters to enjoy the ride. Dragon Ball Super: Super Hero isn’t afraid to let go of brainless action in favor of developing its own plot and spending quiet time with some fan favorites.

By boldly balancing historical responsibility with modern social critique, Poitier establishes his Western masterpiece as both a time capsule and timeless adventure, flowing effortlessly between the genre’s entertaining shootouts and robberies and the prescient commentary of subverting racist systems by all means necessary.

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.

It ends up in an odd space between psychological thriller and straight-up jump-scare horror that unfortunately drags down an otherwise compelling film.

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.

While he isn’t an unstoppable hitman, the cold capitalist Julio Blanco rivals the most ruthless and calculating characters Bardem has ever portrayed. Even when the film can’t match his strong performance, he still elevates everything with overwhelming ease.

Stopmotion is a one-of-a-kind, hand-crafted horror film with a great performance from Aisling Franciosi.

The 2008 remake of Easy Virtue starring Jessica Biel and Colin Firth, is a lot livelier and more entertaining, but the original is worth watching, particularly to note the difference in the portrayal of the female lead character.

Oppy’s origin story and her adorable, human-like qualities will surely attract a wide audience, but the vulnerability and passion of the engineers are what makes this documentary special.

On balance, Twisters is nonetheless a thrilling crowd-pleaser that takes the disaster picture in exciting, novel directions, and an excellent showcase of talent across the board.

As rich and exciting as this new world is, the characters and script that have been thrown into this scenario are fairly banal, full of tropes and platitudes that we’ve heard countless times in this type of film.

Oh, Canada is a more reflective work from Paul Schrader with plenty on its mind that still falls short of his best works.