Ready or Not seemed to close the book on Grace's story, but Here I Come effectively shows that there are still potentially chapters to explore in this tale. Did we need a sequel to Ready or Not? Probably not. But hell yeah, it's great that we have one.

Einbinder, Reynolds, Gluck, and Theroux are appealing as a team, but Strouse doesn’t give them any weight on their own, which leaves this story feeling fairly one-dimensional. Seekers of Infinite Love will, unfortunately, leave you searching for more.

I Love Boosters is full of major swings and plenty of individual concepts that could take up an entire film, yet Riley balances everything this movie is trying to do quite well.

In spite of its faults, Vanessa Caswill's latest directorial effort offers a pair worth rooting for and winning romantic leads, proving that Monroe and Withers have what it takes to captivate audiences in a genre that they haven't previously been linked to.

Through Wang's astute direction, some moving performances, and well-rounded vision, it is just as provocative as it needs to be, while making for a very entertaining watch.

The Pout-Pout Fish is not bad by any means, but don't go in expecting a new animated classic. Little kids will probably enjoy it for the innocent, lesson-filled, mild fun it is, especially if they've been introduced to what inspired it first. There's nothing wrong with that. It's what The Pout-Pout Fish aims for, and it achieves the goal.

Lord and Miller have created a new sci-fi classic, an incredible adaptation of Weir’s novel, and a film that deserves to be a part of 2027 Oscar consideration already. With Project Hail Mary, Lord and Miller have crafted a film that’s truly out of this world in every possible way.

Dolly is a miss of considerable proportions.

War Machine does indeed struggle to stand out in a crowded subgenre of alien invasion movies, but it also does enough to likely satisfy action and sci-fi fans. There are glimmers of brilliance with Ritchson's surprisingly nuanced performance in the lead role and at least one truly great action sequence, but just about every other aspect falls into "just fine" territory.

What keeps the movie going when the script starts to run out of ink are the brilliant performances all around.

Either the twist needed to come earlier, or the filmmakers needed to do a better job of making sure it provided enough of a jolt to make the previous, largely generic 85 minutes worth the effort. As it stands, Protector's twist ending feels adrift in a movie that's not compelling enough to support it.

The Immortal Man, while obvious at times, also gives you everything you could want in a Peaky Blinders movie. There's angst, there's violence, there's sex, explosions, and swagger.

The Bride! embodies an unconventional and rebellious nature that makes it wholly unique. Whether it's aware of its flaws or not, it's not ashamed to lean completely in. In many respects, The Bride! can come off as being just a little too much. Too much romance, too much theatricality, too much feminism — but sometimes, too much of a good thing is still a good thing.

The Napa Boys, written by Corirossi and Armen Weitzman, is a ludicrous concept that quickly throws you into its style of comedy and doesn’t hold your hand.

Hoppers is an absolute delight, setting the bar high for animated films this year, while creating a film that reminds us just how amazing Pixar still is at making new, exciting worlds and stories, without relying on sequels.

Scream used to poke fun at the silliness of horror movies and laugh at the genre's clichés, but now, it’s indistinguishable from the films it once gleefully lampooned, in what is easily the worst installment so far.

It might not answer every lingering question or fully offload his tensions, but it does capture something more elusive and wholesome.

Ultimately, Kermani's film is not strong enough to be called a complete success. Its lackluster ending and uneven characters weigh it down from potentially becoming a cult hit.

The McManus brothers have crafted something that manages to be both sprawling and intimate, complex yet without becoming convoluted. Redux Redux is a strong indie sci-fi film that will make you excited to see what the McManus brothers have up their sleeves for next time.

There are fractured elements that, with a little polish, could’ve been something much more, but this is just a generic, unremarkable horror film.

This Is Not a Test won't give you shivers, but its zombie invasion will leave you hopeful.

A vital documentary, Teng gives an intimate look at not only the toll the genocide has had on Gaza, but on the first responders who can do nothing but give their everything, even as the hospitals they work in become military targets of bombings, and survival is far from a certainty.

How to Make a Killing is a fun, albeit flawed thriller drama with a mildly dark sense of humor.

While it may not be for everyone, it is a love letter to and for genre fans, demanding the same kind of twisted, unconditional love it plays around with.

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

While the film's reliance on established crime stories dips a bit too much into the realm of cliché, the overall result is a thrilling ride that's fun to watch, from its quietest character moments to its loudest chase sequences.

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

Stanton has done truly incredible, groundbreaking things in animation, and he’s almost certainly got a great live-action film in him, but In the Blink of an Eye makes one wonder if Stanton should go a bit smaller and work his way up to such grandiose concepts like this.