In Clerks III, Smith returns to where his career began and has made one of his best films in decades, a tender and compassionate look at friendships that last no matter what, a remembrance of where Smith came from, and an appreciation for all those who helped him along the way.

If the 1940 Pinocchio showed that any wish your heart desires could come true, this remake shows what happens when your nightmares come to life.

It is an experience built around surprise revelations and plunging into the unknown. What is found there is not nearly as impactful as the actual journey itself, making for a mixed bag of horror and humor that rises above its lesser parts enough to hold together.

All in all, See How They Run is a derivative amalgamation of too much tribute and too little originality. Don’t get me wrong, it’s fun and the perfect film to bring your Nana to, but it's ultimately pretty forgettable.

Don’t Worry Darling is best as a surface-level matinée thriller with a few follow-up ahas. But it doesn’t sting like it should in the end.

It is inorganic, gimmicky, manipulative, and its lessons are simplistic.

Like the sparse land of its setting, Inisherin is a film that reveals multitudes through observation and reflection. While I’m writing mostly of its emotional seriousness, it is also compassionate and humorous.

Vampire movies, which often incorporate a love story, are usually driven by the threat of discovery. The absence of that in Bones and All, despite leaving evidence all over the Great Plains, makes it a beautiful-looking movie that becomes too devoted to repeating the same note. There is no “all,” just bones.

It is a thriller that frequently flirts with becoming an out-and-out horror film only to never quite arrive there. The result is a middling work that is occasionally interesting, as we see how it attempts to strike a balance between these two distinct ideas. Regrettably, it ultimately can’t hold itself together when it counts.

Iñárritu has always been heavy-handed but his attempt to be airier creates more areas to bloat. And it gets incredibly unwieldy at points.

While it is undeniably a character study with both the actors at the very top of their game, the story itself is perfectly suited for them to shine.

The remarkable details in how information is revealed entirely through a central performance is the reason TÁR excites. Not what it has to say, but how it tells us the story through a dual execution of performance and writing preparation.

Satire is one of the trickiest things to translate from page to screen and White Noise never really cuts as deep as it should because the communication of the jokes is so rushed — via DeLillo’s style that’s quicker to process on the page than it is to export to the screen.

Funny Pages is a beguiling debut, but it’s also one of the most compelling and unique takes on the coming-of-age genre in years.

The movie doesn’t stand out for its action scenes, has nothing new to say about the old good-versus-evil conflict at the center of any superhero story, and is incapable of giving its villains real purpose. Stallone is a strong man, but even he cannot carry the weight of an entire movie alone.

Its dialogue is constructed in a way that would sound unnatural even in a daytime soap opera, and Kruger works her best to save it, but there’s only so much she can do. The story is so poorly developed it feels like an outline of a script, all in favor of a final plot twist that would be jaw-dropping…in the 1930s.

The Invitation offers an inventive reimagining of a literary classic while asserting itself as a fun addition to the modern Gothic canon.

Me Time just goes through the motions of a wacky comedy without any of the actually funny components.

While he isn’t an unstoppable hitman, the cold capitalist Julio Blanco rivals the most ruthless and calculating characters Bardem has ever portrayed. Even when the film can’t match his strong performance, he still elevates everything with overwhelming ease.

Miller’s modern fairly tale is full of beauty, love, and care, even if the film often focuses on the grand instead of the modest moments.

Breaking is a powerful film that will leave audiences reeling as the credits roll. Corbin and Armah neatly adapted a tragic reality and presented it with grace and understanding, which will hopefully force audiences to think about the reality they live in.

Dragon Ball Super: Super Hero is a fun movie that knows how to use its humor and has fun with the fights, but it’s very conscious that you need to care about those characters to enjoy the ride. Dragon Ball Super: Super Hero isn’t afraid to let go of brainless action in favor of developing its own plot and spending quiet time with some fan favorites.

Beast has its flaws and is mostly by-the-numbers, but if the idea of Idris Elba fighting a lion is something that is of interest to you, then Beast is going to deliver.

Contrary to modern fairy tales, Squeal doesn’t have a clear moral lesson, giving the viewer the hard work of reaching their own conclusions. That’s part of what makes Squeal so enticing, as the film allows multiple readings about vile work structures, the possibility of being happy in an abusive relationship, animal abuse, and even the meaning of freedom itself.

There is a good film in The Harbinger that we catch glimpses of in moments of horror and the conversations we do get to see play out. It just is struggling to break through the uncertain confines of the story it is trapped in.

There is a good film in here that could be made more present if the story itself was punched up as much as the enemies are. This is unfortunate as every dynamic moment of deadly destruction is undercut by ones that are ultimately uneventful.

It is a dynamic, deadly work of filmmaking that achieves all its lofty ambitions and then some to become an absolute masterwork.

It is a work that is so caught up in the noise that it drowns out the moments of the profound silence that could have spoken to something more.