It is moody and creepy, though perhaps not brave enough to wander into true melodrama or bizarre fantasy. In the end, its performances and the way it incorporates Gothic elements, along with a strong visual aesthetic, make the film a worthwhile watch.

Deadpool & Wolverine is a shot in the arm that the MCU needed, and finally shows the full potential of Ryan Reynolds' Deadpool.

Jérémy Clapin’s Meanwhile on Earth is a mesmerizing work of science fiction with a magnificent performance by Megan Northman.

The Beast Within, a human tragedy awkwardly disguised in wolf's clothing, stumbles badly.

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.

Try as it might to tackle complex themes and serve up some steamy romance, both endeavors fall flat and will likely leave audiences underwhelmed.

Oddity is another horror gem from writer-director Damian McCarthy with an enthralling performance by Carolyn Bracken.

My Spy: The Eternal City is an underwhelming action-comedy sequel that is best as a covert coming-of-age tale, but more frequently suffers as a grab-bag of tonality that abandons what helped My Spy succeed in the first place.

It's not the Sandra Hüller movie you might have hoped for, and Sisi & I never communicates any particular reason for us to perceive Sisi through this boring outsider's perspective. But even if the movie doesn't come to a clean point, it maintains a certain grandeur.

It's a film that subtly reminds the audience to slow down, be present, and enjoy what one has, because it can be gone in an instant, while also encouraging hope. It's a beautiful cinematic journey and one not to be missed.

The Outlaws is a lean Western tale of paranoia and betrayal that mostly hits the target, but lacks greater all-around development.

Sing Sing feels like a true ensemble piece, giving all of its characters a chance to shine.

At the end of it all, it’s unclear if Lumina is anti-aliens, anti-government, or just anti-cinema. If you go into this one expecting genuine thrills and a compelling alien abduction story, you will likely leave the theater confused, disappointed, and wishing you’d spent the past two hours doing … quite literally anything else.

This bold feature debut refuses to shy away from gore, social commentary, or a heartwarming ending for its characters.

It’s a weird film that eventually gets lost in itself, but there’s still much to be appreciated.

For a lower-budget actioner, Murder Company is absolutely worth its eighty-six-minute runtime.

Parthenope is a decades-spanning slice-of-life movie that has no interest in diving into the complexities of its protagonist.

Without going too far into detail, as the sudden swerve it makes is too delightful to dare give away, it takes a plunge into its own distinctly offbeat, frequently absurd, and ultimately melancholic vision.

Last Summer’s solid performances elevate it, but it never reaches the heights it could by digging more deeply into the themes and more firmly grounding us in the characters and their emotions.

While most movies have a particular section reserved for fun and games, Karaçelik's tale is engaging in its entirety, with captivating performances from its cast that will make parting ways with Keane, Suzie, and Kollmick a difficult thing to do.

Longlegs takes a bit to get us settled into its brand of horror, but once it does, it’s hard not to be impressed by the place between here and there where we find ourselves.

On balance, Twisters is nonetheless a thrilling crowd-pleaser that takes the disaster picture in exciting, novel directions, and an excellent showcase of talent across the board.

At its core, Fly Me To The Moon is a thoroughly enjoyable, memorably novel rom-com that regularly surprises in a genre that often doesn’t, and we're all better for it.

Despicable Me 4 understands its appeal and plays to its strengths. With fun details, vibrant animation, and strong comedic energy, it is a delightful and entertaining addition to the franchise, offering enough laughs and heartwarming moments to satisfy both longtime fans and newcomers alike.

Despite its best efforts, Space Cadet never reaches its potential as a comedy or an aspirational tale. Instead, the movie gets lost in the realm of forgettable, lukewarm rom-coms, having lofty aspirations but, unlike its lead character, remaining firmly on the ground.

Beverly Hills Cop: Axel ' perfectly recaptures the joy of the original two films and is powered by a joyful Eddie Murphy.

Polished off by a vibrant cast, Annick Blanc’s feature debut is an impressive feat and a refreshing and minimal twist on the “eat the rich” trend in Hollywood.

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.