The End paradoxically feels ornamental and operatic while at the same time almost iconographic in its simplicity.

By the film's end, both the film and its titular protagonist become honed, complex, and much-improved. It's an inconsistent sword-and-sandal epic, but one that lands some major notes as the sequences and combat get bigger, bolder, and feature better grounded performances.

Tron: Ares isn’t likely to turn Tron into the major franchise Disney has clearly wanted it to be for decades, but it is a sign that the company has a smarter understanding of what these movies need to be: exciting to look at, with a great soundtrack, and with a story that’s dumb fun. Tron: Ares not only achieves that, but finds fun ways to fit in the other installments that make you actually want to see more installments in this world, as opposed to having them forced upon us. Tron: Ares isn’t a killer app, but it is a solid upgrade.

This incredible cast, especially Washington, Nielsen, and the overlooked Pascal, and this expansion of the compelling political machinations make Gladiator II a worthwhile sequel, even if it can't match its predecessor. Gladiator II will leave you entertained, but leave you with an unfortunate feeling of déjà vu.

Striking Rescue follows familiar beats, but there are enough twists and solid performances to land it well, while the action sequences are delivered with Jaa's characteristic uncompromising intensity.

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.

With a powerhouse ensemble leading viewers through their raw, tender story, it’s more than a necessary watch that should aid in opening minds and prompting conversation.

Gasoline Rainbow blurs the line between documentary and narrative filmmaking to create a road trip movie unlike you’ve ever seen before.

The main central path brings with it a rewarding story that boasts the risks and payoffs of falling in love. The other thinner side paths on this road, unfortunately, frequently lead to dead ends despite being ripe for genuine expansion.

Riz Ahmed's fiery turn and a bold South Asian lens make this Hamlet compelling, even if uneven.

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.

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.

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.

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.

Grounded by exceptional performance across the board, a rich and funny script, and confident direction, Lisa Frankenstein is a delightful film. It doesn’t break a lot of new ground (unless you count the many graves that are dug up throughout its 101-minute runtime), but it does manage to frequently subvert expectations of horror, comedy, and romance movies alike. All-in-all, it’s a bloody good time.

[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.

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

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.

It's funny, it's zany, it looks good, and has some really great character work going for it, but it probably would have turned out better as a product of the 20th century.

Despicable Me 4 understands its appeal and plays to its strengths. With fun details, vibrant animation, and strong comedic energy, it is a delightful and entertaining addition to the franchise, offering enough laughs and heartwarming moments to satisfy both longtime fans and newcomers alike.

It may not reinvent the wheel for tightly-knit actioners, but Fight or Flight still sticks the landing for a crowd-pleasing and chaotic thrill ride.

Desert Road almost immediately establishes itself as a potent thriller, but the real fun to be had is watching it evolve from one type of film to another, as mundane threats give way to more mystical hazards.

None of it would be as effective if we didn’t care about these characters, and thanks to the strong ensemble and precise direction, the film slowly reveals itself to be a film worthy of consideration.

One of Them Days might not necessarily be a great comedy, but it’s absolutely the type of comedy we should see more of in theaters nowadays. Palmer and SZA are a delight, and Lamont and Singleton’s work elevates what could be just a silly comedy into something more.

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

I was ready for Kill Your Lover to be a better concept than execution, but that’s not true. Its flaws are apparent, from a forced feature duration to inevitable conclusions, but there’s nothing detrimental enough to ruin an otherwise impressive original horror creation.

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.

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.