War is hell and for a little over two and a half hours, All Quiet on the Western Front displays its ghastly horrors without ever venturing into voyeuristic consumption, opting instead to unsettle its audience with bleak realities and sobering truths.

To see Clooney and Roberts team up again when they have demonstrated in the past (the Oceans movies and Money Monster) that they go together like rum and coke is a lot of fun, but it also makes it undeniably noticeable that they deserve better. I don't mean an Oscar-worthy dramatic biopic. But a rom-com with some nuance and wit.

Black Adam isn’t a full-on course correction for the DCEU, but it is an encouraging new installment in this larger universe. Collet-Serra knows how to present this darkness and antihero in a way that’s effective, while also fleshing out one of the most promising additions to DC’s ever-expanding cadre of characters.

Till will go down as one of the most powerful and important films to hit the screen in 2022, Danielle Deadwyler is unforgettable, and the film has a voice that needs to be heard more. A single movie is not going to stop hate, but that isn't the intent, this is a film that challenges its audience to open their eyes even more to racial injustice.

Even with some questionable choices, Holy Spider still packs a powerful punch, particularly in its third act, and one of the most disturbing final scenes you'll see all year that feels like the perfect summation of the past two hours.

The movie undermines its own message by silencing one of its most important characters and choosing instead to give the spotlight to the ones that bring nothing new to the table.

The problem is The Curse of Bridge Hollow isn’t clever enough to carve out a niche of its own and is defined by the diminishing returns of derivative genre riffs from start to finish.

The final showdown between Laurie and Michael Myers is pretty thrilling, perhaps because we know that this is the last time we will ever see the pair face off (supposedly). Whichever side you land on, whether you are Team Laurie or Team Michael, you won't feel cheated by the conclusion of the film, which makes what preceded it a lot easier to forget about and made the movie, in general, a lot more palatable.

When it embraces an eerie and enigmatic tone that subsequently gets turned on its head, Significant Other still boldly proves to be a film worth getting lost in.

Ultimately, the new Hellraiser isn’t entirely bad. It’s just bland. Forgettable. And in the world of horror films, isn’t that worse than being bad?

Dark Glasses is no Suspiria or Tenebrae, but it’s also no Dracula 3D. It’s a fine movie, and sometimes, that is all you can ask for.

Terrifier 2 is best when it does what we are here to see: big, bloody murder. But the attempt at a story is just atrocious. Terrifier 2 tries to be bigger and better than its predecessor when really, we just wanted more of the same.

Riseborough’s impeccable performance cannot be overstated. Her passion shines consistently whether Leslie has hit her lowest low or is riding her highest high. All of this contributes to the film’s poetic ending, which is sure to leave you teary-eyed and reinvigorated with a new lease on life.

Whatever joy you get in individual moments is lost in the shuffle of a film that far overstays its welcome.

With the options of taking the audience on a fully-fledged bang-bang Western adventure or commenting on the genre’s issues in past decades, Dead For a Dollar chooses to do neither and wastes its stellar cast with drowsy performances which never make you root or fear for any character.

What truly saves this film from its own baffling choices and makes it watchable are the performances. Scott, Piper, and Alwyn all turn in compelling performances, but it is the titular "little bird" that steals the show. As the rebellious, headstrong Catherine, Ramsey is an infectious delight who infuses every scene she's in with an energy that is both comedic and earnest in its bluntness.

Everything in Jeepers Creepers: Reborn is cringe-inducing to the point that even getting to the credits becomes a chore. And the fact the movie is taking itself seriously only makes everything more painful.

Deadstream is more than great found footage; it’s one of the best horror movies of the year, period.

It is a slog of epic proportions that utterly wastes the talents of all involved. Completely lacking in cleverness and without any sense of direction, it is a cinematic drought of entertainment that only has any intrigue in how baffling an artifact it remains. It may not be the worst movie of the year, but it is certainly the most annoying.

Despite its flaws, Mr. Harrigan’s Phone remains a careful adaptation of one of King’s most touching stories to date. And while there are not many frights in this horror movie, it remains a solid entry of Netflix’s enviable collection of King’s adaptations.

If you are looking for a good slasher film, look elsewhere. If you are looking for a fun family-friendly film with a few good monsters, then try Spirit Halloween: The Movie.

My Best Friend’s Exorcism has something for everyone: strong female characters, spooky atmosphere, humor, heart, a bitchin’ 1980s setting. There is a lot to like here, and plenty to enjoy all year round.

It summons the magic of nostalgia with laughs, heart, and music, and perfectly satisfies the heart of audiences trying to rekindle the past.

A familiar underdog story made engaging by the flashes of patience with which it approaches its material, Sanaa Lathan’s On the Come Up doesn’t reinvent the wheel as much as it tries to roll along with it.

At its core, Vesper feels like a dark fairytale, like something born from the haunted tales of Grimms' Fairy Tales.

Even though Sidney takes a fairly elementary look at Poitier’s career, it’s still extraordinary to see the contributions this man had on the world lined up in this way. Poitier left an indelible change on entertainment, the culture, and society at large, and Sidney makes us aware that this world wouldn’t be the same without Poitier.

It is a work of patient yet painful observation that exposes how a community of struggling people can easily turn hateful.

García’s latest film is a predictable, completely fine, but uneventful dramedy that never quite finds a way to dig itself out of mediocrity.