Once again, Daisy Ridley proves she has the charm and star power to make even the shakiest scripts a thoroughly enjoyable watch. Like Protégé, Cleaner has a lot of compelling storylines, action sequences, and intention, but the execution leaves something to be desired.

The Bad Guys 2 is a gorgeous, fun animated film that occasionally spreads itself too thin.

Alien Romulus has a promising beginning and end, but the middle gets a bit too muddled in nostalgia for this franchise.

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.

It's another perfect excuse to shove popcorn in your face as you cheer watching Statham beat some people up.

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

Ballerina gets off to a shaky start that almost feels like it misunderstands what has made the John Wick series so much fun for so long. Yet once the absurdity of the action takes hold, and Ana de Armas gets to prove herself as a fitting potential heir to this franchise, Ballerina captures the blunt, chaotic action that this series thrives on.

Through its dynamic direction, clever script, and stellar, largely Canadian cast, Humane has earned a place in the longstanding genre of ecological thrillers. It's a fun, bloody reminder not only of how far people will go to save themselves, but to always bring pepper spray to an unexpected family dinner.

Death of a Unicorn is a delight; a clever, sharp-horned, and violent horror-comedy that demands to be seen on the big screen with an audience.

With a flair for the surreal and fantastical, it’s easy to see how Fuller’s feature debut could become a cult favorite just like his shows have.

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.