Confess, Fletch is decent—not quite a great mystery, not an excellent comedy, but fully enjoyable for what it is. A major part of that is Hamm’s ability to play up his charms, while also showing his gifts as a comedic actor.

In short, this is the perfect cinematic venture for those who are fond of chaotic, psychological thrillers that keep you engaged, but that don't keep you guessing when it all comes to a close.

Meet Me in the Bathroom is a tremendous document of one of the most integral musical periods of our time, when the kids asked "is this it?" and responded by changing the world.

The Lost Bus may not reach the heights of some of Greengrass' finest work, but that's a high bar to reach. Thanks to some immersive setpieces, grounded performances, and stellar direction, the latest film from Apple TV+ rises above its shortcomings, resulting in a gripping docudrama that is worthy of your time.

The New Boy is a movie about how colonization can disguise itself as kindness, and how that kindness is still violent and destructive.

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

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.

While Luhrmann can do his best to recreate the glitzy, nonstop nature of Presley’s life, in those final moments, it’s easy to see that Elvis lacked the weight that this real footage captures. It’s that little bit of substance that reminds how hollow the previous hours of style have been.

Buddy is a blood-soaked nightmare full of dark humor and surprisingly touching moments. Like its title character, Buddy isn’t just fluff, there’s something deeper inside.

Napoleon is a grand film, both in terms of Scott creating a story with a size we’ve rarely seen from him, and the bold, large choices made by a completely game Phoenix.

Like so many of Frears’ films, The Lost King works because of the compelling cast on hand.

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

Regardless of its slight fallbacks, Turtles All the Way Down tells a moving story about a teenager's isolating struggle with mental illness, and her resolve to build a life for herself despite it.

Cora Bora is a bit of a surprise first leading role for Stalter as it's a comedy that’s soaked in heartache, trauma, and self-discovery. It’s a vehicle that proves she can not only make us laugh, but make us feel some feelings, too.

Guardians of the Galaxy Vol. 3 isn’t just the ideal sendoff for this group, it’s the best MCU film in years, and a reminder of how much fun and moving the Marvel Cinematic Universe can actually be after film-after-film of recent disappointments. The Guardians of the Galaxy were the best corner of the MCU, and Gunn has created the perfect goodbye to this gang of misfits.

There’s an edgier, grittier, and more thought-provoking movie hiding in here somewhere — about chasing adrenaline and the commodification of your body, safety, and existence — but what we get is still plenty entertaining.

There is just enough magic that it discovers by the end to give it a closing spark, but there is a mighty long road to get there, ensuring it all just remains merely okay as opposed to comprehensively good.

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.

All You Need Is Kill might not be as impactful as the Takeuchi / Obata manga, or Tom Cruise’s live-action update, but it does make some intriguing choices that will absolutely be worthwhile for fans of these other versions to check out.

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.

That story is beyond tragic, but although Queen of the Ring does have some sad moments, it's also a story of unwavering passion. As the final credits roll, you're going to feel a renewed strength thanks to such a powerful icon.

Despite all its flaws, Door Mouse remains an interesting cinematic experiment. And we must commend Jogia for his devotion to comic book language.

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.

Much as he’s done in the past, this film dissects the casual cruelty of love and relationships through a combination of the filmmaker’s distinct sense of dark humor that occasionally flirts with something closer to a more strange sociological horror.

There's no question that it carries all the hallmarks of a low-budget Corman effort. That being said, there is the feeling in Dementia 13 that there's a filmmaker behind the camera that really cares about the story at hand.

Summer of 69 is one of the best movies that American High has put out and is the first teen movie in a while that successfully harkens back to the high school-set movies of yesteryear.

The Apprentice is a film that delves into the figures who shaped Trump’s worldview while never becoming a hall pass for the bad behavior of men like him.

Love triangles, secrets, murder, and wild courtroom drama make for a gripping Hitchcock classic.