The latest action-comedy from Black proves that he's still capable of delivering an equal parts funny and action-heavy comedy with all the trademarks that make us love him as a filmmaker.

It's a silly movie, make no mistake, but it's an endearingly one nonetheless.

Kung Fu Panda 4 is a film all about deciding to not do the easy thing of remaining stagnant and comfortable, but rather, trying something new and hopefully finding the greatness in the new opportunity. Kung Fu Panda 4 similarly does this, attempting a new approach to this world and mostly finding success, while also potentially setting up the future of where this series could go.

The two leads are so charming, the jokes are genuinely funny, and the kills are delightfully gorey.

By the end of Not Alone Anymore, it's clear that Matlin is far from a star who burned too bright once, and her light has not dimmed at all. If anything, she's been working steadily and surely and despite the years of solitude, thanks to her creating the path forward, she is not alone anymore and won't ever be again.

It could innovate more thoroughly and ground its antagonistic plot with stronger internal logic, but it's a solid action outing that's well worth any audience's time.

Even as it comes awfully close to overstaying its welcome just a bit, much like the spiders in the home of the characters, it very quickly grows on you.

Each subject is so rich and nuanced that any single one of them could carry the documentary as its sole focus.

It doesn’t deliver a knockout like some of Miike’s other films, but it still manages to beat all it has working against it into submission. One can only hope it manages to beat the odds again and find the audience it deserves.

While Ma’s script can feel broader than one might like when it comes to the core dynamic between Sara and Sumi, it thrives as a love story and character study and offers enough heartwarming moments of humor to make it well worth your while.

It sits in your chest like a cough you can’t get rid of, and there’s promise in its bones of what might come next for the Aussie directorial duo.

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.

Moana 2 explores the possibilities of this universe, and builds on the bond between Moana and Maui, but stays a bit too close to the original's formula.

It lacks the electricity of his past works but, as we come to see, the lifelessness of it all, is, in many regards, the point of the whole thing. It's about carrying on when nothing makes sense.

This third Avatar film might not have the groundbreaking impact of the first film, or the vast improvement that The Way of Water had over what came before it, but Fire and Ash is still an exceptional moviegoing experience that proves there’s still plenty of gas in this tank.

I’ll Be Right There is a light, breezy way to spend a little over an hour and a half filled with some genuinely funny gags, top-notch dialogue, and solid performances.

Meet the Barbarians provides a light yet engaging look into how communities are built and maintained, and how differing aspects of their identities can form something better when people of disparate backgrounds are brought together.

Despite its sometimes rocky editing and crowded ensemble, First Time Female Director does what it sets out to do: make you laugh and laugh hard.

Empire Waist features a moving tribute to friendship dressed up in a bright, colorful package.

Adams and McNairy give two fantastic performances that showcase the confused, overwhelming situation that first-time parents find themselves in, and Heller juggles this fantastical high-concept idea with very real emotions and powerful statements.

Through its exploration of Navajo culture and life on the reservation, as well as the troubles and beauty of that community, Rez Ball smartly explores dark topics in a way that doesn’t suffocate the underdog story within.

As your run-of-the-mill newsroom thriller, September 5 proves to be a riveting watch with two stand-out performances from Sarsgaard and Magaro and compelling direction from Fehlbaum.

Azrael is both familiar and unique, blending genre comforts with a risky idea. Luckily, it all works, paying off a relatively massive gamble that benefits from Samara Weaving's star power.

Get Away is a deceptive blast that properly exploits vacationer stereotypes to conceal vastly more wicked intentions.

Thought-provoking and poignant, In Flames isn’t an easy conversation, but it is a necessary one that rests its narrative on the pervasive gaze of patriarchal oppression.

In the end, All That We Love is a film about permission: permission to grieve in our own way, to allow others to do the same, and to know that we are still worthy of acceptance, even in our less-than-perfect moments.

The Gutter demands that you’re on its wavelength, but once you’re there, it’s like continual machine gun fire the way jokes and sight gags fly off the screen.

Ahn’s feature debut is ultimately a beautiful, sensitive love story showcasing the healing power of unexpected human connection.