Toy Story is one of the most consistently incredible franchises around, and the impressive fifth installment not only justifies its existence but feels like a necessary response to how much the world has changed in the past three decades. Toy Story 5 expertly stays true to what audiences love about the movies while adapting to the modern age, blending iconic characters with charming new additions. It’s sure to be not only one of the best family films of the year, but one of the best films of the year, period.

This is a summer blockbuster made for cinephiles, with no IP attachment and no overreliance on obvious Easter eggs. Even if you aren't entirely in awe of what Spielberg and Koepp have cooked up, there is still plenty to be impressed by. As a Spielberg devotee, Disclosure Day gave me exactly what I wanted from his return to the alien movie.

Ultimately, whether or not you will enjoy the new Scary Movie will depend on whether or not you liked the previous five. If you did, this one will feel like a silly reunion with an old friend. If you didn't, this one will not change your mind about the saga's over-the-top antics and gross-out shock humor.

Far from a gritty reimagining, this new version of Masters of the Universe is determined to wink at the camera and appeal to your nostalgia. Not everything works, and it would have been nice to have a more menacing villain, but it's a good time if you leave your cynicism at the door.

Obsession never lets audiences forget that Nikki’s obsession may be supernatural, but Bear’s entitlement is painfully human.

Whether you're a fan of the miniseries or are just discovering Kane Parsons' wildly successful franchise for the very first time, Backrooms is a door that any horror fan should absolutely walk through.

Stan and Reinsve both give restrained but emotional performances.

Full of blood and murder and Gothic flair, what makes Victorian Psycho so good is that it doesn't need to pretend to be artsy or take itself too seriously.

Full Phil accomplishes the rare task of making the viewer less and less sympathetic to these two exhausting characters.

Ultimately, Tuner is an enjoyable caper with a lot of elements you've seen in other movies, but rarely in this order. Impeccable production and subtle commentary will be a delight for cinephiles, while the unique setup keeps you engaged right up until the final note is played.

There's no doubt that Sachs is a master when it comes to crafting a stirring narrative. From the script, which he penned with long-time collaborator Mauricio Zacharias, to the vivid cinematography by Josée Deshaies (who was also behind the camera on last year's Urchin), The Man I Love embraces the art of filmmaking to its highest degree.

Every time you think the film might finally actually step into the horror arena, it takes a step back and instead indulges in empty titillation. This film is for people who already love Refn's work and are willing to look past any faults to simply rejoice in his return ten years after Neon Demon. But after walking out of Her Private Hell, the movie has me thinking that perhaps Refn should have stayed dormant another 10 years if this is the final product.

Equal parts heinous and hysterical, Travolta’s attempt at screenwriting and directing will go down as one of the most atrocious debuts ever committed to screen.

Paper Tiger hits all the notes you’d expect from an '80s-set crime drama, but the film lacks anything else to make it stand out from the rest.

Hope could have been a near-perfect film had it abandoned its desire to go even bigger and simply stuck to the creature feature that made its first half so entertaining.

Is The Mandalorian and Grogu the worst Star Wars film ever made? Far from it, as there is much fun to be had here. Is it the best in the franchise? Also not the case, as it could very well be the most forgettable and inconsequential entry the franchise has produced yet.

Ghost War wants to feel like a bigger, sharper return for the franchise, but it too often settles for the safest version of itself.

I'm never one to complain about a 98-minute action movie, but, in the end, In the Grey feels rushed. Some extra time could have not only paid off all that planning Sid and Bronco do in more impressive ways, but also given the characters more space to feel like actual characters, as opposed to just standard-issue tough-guy archetypes.

Overall, this is their most conventional film yet, and it further cements Schoebrun as one of the pre-eminent queer filmmakers of today, one who continues to bring clear vision and nuance to themes of identity, sex, and selfhood.

Swapped takes the tropes of body-swap comedies of the past and filters them through a decidedly contemporary lens.

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.

While there may be one or two too many callbacks to the first film and a couple of unnecessary subplots, the sequel doesn’t rely entirely on nostalgia, nor does it strip away everything that made the original great. Maybe it’s not a perfect balance, but it’s pretty close to it. I don’t think I’ll be quoting this one as frequently as the first, but I certainly see myself grabbing some popcorn and peanut M&M’s for a pretty epic double-feature in the future.

As one of the year’s most delightful surprises, The Sheep Detectives is a charming, smart, and sincerely heartfelt whodunit that proves even the smallest voices can carry the biggest stories. But best of all, it’s also the kind of film you don’t expect to love this much and one you won’t forget anytime soon!

Though Apex's story largely just updates survivor-thriller tropes we've seen many times before, it's effective enough in its repackaging that it's certainly worth firing up on Netflix during a lazy night in. The physicality of Theron's performance, along with the film's vertigo-inducing cinematography, ultimately make Apex an adventure vacation from hell worth taking.

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.

Unfortunately, Lee Cronin's The Mummy is so focused on replicating other horror movies and relying on familiar tropes that it honestly has very little in common with the bandaged monster it's supposed to be about.

It's fairly common for creature features to be populated by characters we feel little to nothing for: flat, cardboard people whose only real purpose is to fill the runtime until they get eaten. Thrash does a solid job of avoiding this standard pitfall.

Outcome is clearly coming from a personal place for Hill. It doesn't come across as too bitter or full of self-pity, but the point of the movie is never made fully clear. It moves at too quick a pace to leave much of an impact, and it's a bit of a tonal nightmare.