Dead Reckoning Part One is plenty of fun, and one of the best action films of the summer by far, but coming five years after Fallout, it’s hard for this seventh film to not feel like a bit of a disappointment.

Cohen carries the reverence she feels for her subjects into Every Body, which insightfully raises awareness about intersex individuals even though some of its creative choices prove distracting.

Alberdi reminds us of the essential beauty of personal connection, and it elevates The Eternal Memory from a memoir to a glimpse into what the best humanity has to offer even in times of hopelessness or crisis.

While fans of Cox and Beckinsale‘s work might still enjoy some moments of Prisoner’s Daughter, the overall lack of polish in the script makes for a dull experience that’s filled with inconsistencies.

The characters are consistently charming, the humor sufficiently silly, and the animation often beautiful, though the standard path it takes holds it back from fully exploring the potential lurking just beneath the surface. When it all bursts free towards the end is when the film is at its best.

There are layers of complexity in both Wright’s performance and that of the late Williams which elevate the experience, making for a sturdy enough riff on the Western that still could have been so much more.

Lawrence flexes her comedy muscles in both her dialogue and physical comedy, taking some bold swings with some of the things she does on screen, and it pays off extremely well.

Whatever one takes away from it, the final moment of melancholy it taps into is crossed with the joy of seeing a film free itself by eschewing our expectations to just be. It may leave some feeling adrift as a result, but the truth of its emotional experience would demand nothing less.

The film is lovingly put together and expertly crafted, making for a gorgeous tribute to Lee.

A true dramedy, it’s as raw and painful as it is refreshing and cathartic. Though nothing is tied up in a neat little bow at the end, you’re left with an undeniable feeling of hopefulness. You’re sure to laugh, and there’s a good chance you’ll shed a few tears, too.

There are several interesting ideas and stories floating around Eric LaRue, but Shannon can’t seem to decide which ones to focus on. While there are some genuinely fantastic, inspired moments, they frustratingly never quite come together, leading to a baffling viewing experience. Hopefully, Greer will get another chance in the spotlight of a more worthy film.

With eye-popping animation, a fresh story that challenges tropes, and an energetic voice performance by Chloë Grace Moretz as the titular character, Nimona is nothing less than a triumph.

Even as not all the jokes land, the rare experience of getting to take in a spoof comedy like this makes it worthwhile all the same.

Extraction 2 feels like a glossier and more by-the-numbers extension of the first movie. By giving Rake, their Sad Action Hero, something more to fight for, the filmmakers accidentally stripped the character of what made him so compelling in the first place.

It feels stuck in a strange, bland limbo, unsure of what it wants to lean into and truly be. For a movie all about identities, this film lacks one.

There’s a lot to like about The Listener, with Thompson’s performance easily being the highlight. It’s a simple yet powerful story of finding connection and hope through the dark times.

For me, it’s the film to beat this year, easily taking the crown as my favorite scary movie of the last several years — even if all the scares come from the idea of what might happen when your closest friends turn on you.

Despite how transgressive and inventive Dalí was as an acclaimed artist, Dalíland is content to create a story that plays it all too safe.

After the dregs of the first five Transformers films, Bumblebee felt like the shot in the arm that this series needed to make it what it should’ve been all this time. Coming off that, Rise of the Beasts feels like both a step forward and a step back.

Even without the questions about the veracity of the story, its rah-rah style makes it feel superficial rather than sweeping. In the end, Flamin’ Hot comes across as a selling of a story and a brand rather than a genuine retelling of one.

While the kills in the first movie were quite imaginative, they also erred slightly into the fantastical. The Wrath of Becky grounds its kills more in reality, but it doesn't pull back on the gore whatsoever.

It's far from perfect, but the production design of the film and the strong backbone of actors make Cobweb an entertaining film, though not a must-see.

Part true crime legal thriller and part family drama, Triet's Palme d'Or winner is a thrilling story about perception, truth, and ambition.

Cameos and fan service are fine to have, but the story has to be there to back them up, and it’s not quite there with The Flash.

Narratives about identity are important, but Elemental lacks the delicate nuance needed to tell these stories.

Across the Spider-Verse isn't just easily one of the best films of 2023 and one of the best animated films in years, it's also in the running for best superhero film ever, and arguably cements Miles Morales as the best Spider-Man we've seen on the screen so far.

The Machine has enough going in its favor to warrant a recommendation to fans of Kreischer's stand-up comedy, but other audience members may walk out feeling empty.

The grim absurdity of it goes hand in hand with the horror, making the escalations and chaos properly fun.