It's not breaking any new ground, but Prom Queen is a solid enough teen slasher that does a nice job of continuing the ever-expanding universe of R.L. Stine.

We feel very much like we are in the thick of it when watching, as if we're in the room as the story develops.

Altogether, it's a solid dark comedy in the trappings of a psychological horror film.

The idea is good, but in practice The Prosecutor doesn't fully feel like a legal drama, nor does it feel like a martial arts film. It's a decent film with strong direction, but laden with regrettable missed opportunities.

John Magaro, Steve Zahn, and Dylan Baker lead a cast of stellar character actors in a film that winds up being one of the better Fargo-adjacent movies we’ve gotten in some time.

Morris' strength lies in the interviews he conducts and the narrative he's capable of creating through them. The director is not at all interested in making a straightforward adaptation of O'Neill and Piepenbring's book, instead chatting with many actors involved in the Manson case, from Bugliosi to Manson family member Bobby Beausoleil.

The sci-fi thriller certainly has some bumps along the road, but a dedicated performance from Jessica Rothe helps amplify it into an intriguing ride that cleverly showcases the actor's impressive range.

Unfortunately, where the film falters is with its other star, the aforementioned Chris Hemsworth.

The Parenting, which boasts an impressive cast including Brian Cox, Parker Posey, and Edie Falco, takes itself just seriously enough to maintain the impact of both the horror and the comedy, and while it doesn't end up being the most original or breathtaking thing you ever saw, it makes for a fun ride with a lot of character and plenty of heart.

The Bibi Files may not be the poison pill that knocks the Netanyahus from power the way that those on screen may be calling for, but it’s still a powerful presentation of the facts without ever devolving into being a mere polemic.

Some jokes run too long, don’t land, or could use another draft. It's a constant stream of cameos, which is overall fun but sometimes a little distracting. But, at its core, the sequel is a good-natured charmer about a troubled everyman who is trying hard to grow up without losing himself in the process, and it gives us a lot to laugh about on the way.

Shelby Oaks is a promising debut from Chris Stuckmann that’s equal parts eerie and soulful despite some third act shakiness.

There is no other horror film you’ll see this year as incessantly cruel and mean-spirited as The Coffee Table. This is both a compliment and a criticism, as, while the film is plenty committed to twisting the knife into its audience, it can also be rather repetitive before rushing to the finish.

Chestnut is an effective and enjoyable if rather simple and slight coming-of-age movie about a unique time in a person’s life that few filmmakers have chosen to focus on.

Dahomey may not be for everyone. Unless you’re a history nut or anthropologist, there will be lulls when you find your concentration lagging. However, at a runtime of just over an hour, Diop makes every shot count and packs centuries of history, injustice, and triumph into a dense but vivid documentary.

Much like the character he plays, Mikkelsen does a lot with very little, giving life to a barren world that is often defined by death and suffering. It is in his piercing stare that we are taken into the entire interior world of tumult he is trying to contain.

Eubank's direction has a tenderness for its characters and for the little worlds they build around themselves, bursting full of hopes and dreams that we really want to see them achieve.

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

Unafraid to lean into Isla's naivete, Rankin's performance playing off both O'Rourke and Gleeson is what places her at the center of this tale and makes it worth watching.

Much like the setting it depicts, Sunfish (& Other Stories on Green Lake) is a quiet little gem with much more to it for people willing to take the time to look beneath the surface.

Hell Hole is a solidly gory, goofy little ride that cuts through any hiccups to get to the meat of a madcap indie monster movie.

Flow takes a fascinating and effective approach to animated stories and shows that the barrier between the two types should be broken down more often.

Moving, emotional, and ultimately cathartic, Renoir is a quiet and stirring coming-of-age story that reminds us of our own childhood and the impactful time that can be.

The Smashing Machine boasts strong performance, but the film hits fairly generic story beats.

The Sun Never Sets is a charming take on the love triangle and a strong return to movies for Swanberg. The mixture of Fanning, Johnson, and Smith works well, and this romance is handled quite nicely without becoming frustrating with all its relationship back-and-forths.

With two movies under their belt, Statham and Ayer have proved to be the perfect match for delivering entertaining and simple action flicks to the big screen.

Stevenson's debut feature is a smart handling of horror with imagery that won't soon leave your mind, elevated by an uncomfortable performance by Free. Stevenson shows how to bring a franchise back from the dead, and proves that maybe this series doesn't have to be all just for Damien.

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.