Some well-timed edits maximize the impact of the jokes and help leave necessary horror elements up to the imagination. Even when we don’t see everything, our minds fill in the gaps to make the gore and gags that befall Wes land.

Beyond these two endearing actors being able to gleefully chew the scenery, The Gray Man is mostly a collection of tired spy tropes, directed in a muddled and baffling way, that seemingly exists to set up what seems like will be a fairly unimaginative franchise.

The real beauty of Nope, however, is watching Peele explore this playground, continuing to prove that he’s a maestro at crafting stories that are extremely weird, yet engrossing and impressive to watch.

In its own way, Persuasion is trying to persuade its audience that Austen was brilliant in her modernity, when Austen already handled that quite well without Cracknell, Bass, and Winslow’s help.

Mrs. Harris Goes to Paris is a quiet delight, a perfect summer interlude that exudes beauty, optimism and charm in every scene. Mrs. Harris Goes to Paris feels like capturing joy in a bottle.

Who knows what Paws of Fury: The Legend of Hank could’ve been when it was originally envisioned over a decade ago, but what it ultimately became is a tiresome, tedious, and uninspired animated adaptation of a classic parody that doesn’t have any of the original’s comedic wit or bite.

What is undeniable is its sense of vision, a fully realized work that marks Colbert as a director to watch in absolutely anything she takes on next.

Where the Crawdads Sing is a weirdly uncomfortable movie, on many different levels. If you haven’t read the book I can’t imagine you would want to see this movie; if you have read the book, I say proceed with great caution.

While it is important for the film to immerse itself in the emotional struggles of the scenes, it also is hindered by some occasionally abrupt edits and anarchic writing that dulls the sharpness of its story.

I never once rolled my eyes at a joke that was clearly dropped in, so it could be a zinger and make it to the trailer. It successfully silenced a rather jaded MCU fan by offering a story that had it all without having to sacrifice its soul to the MCU machine that is eager to churn out stories for future phases.

Even with Fiennes and Chastain giving it their all in a manner that makes the story far more engaging than you would expect, they can’t carry it all on their own. The most ambitious and audacious performances in the world can’t overcome storytelling that is otherwise safe to the point of being timid.

The fast-paced, vaudevillian-style humor keeps us laughing despite the fact that we never really have any clue what any of the Minions themselves are saying. This movie affords itself more surface-level moments with lesser-developed villains because of the relationships we're immediately invested in between Gru and his Minions.

There are very few classic hallmarks of horror films in The Black Phone. They arrive in the third act, but before that, it is a lot of… nothing. Talking. No cat-and-mouse chasing. No killing. Not even any suspense.

Fleischer-Camp and Slate are able to expand Marcel’s story in a way that doesn’t stretch out this concept, but rather, expands the possibilities of Marcel’s grandiose world and shows us our world from an entirely new perspective. Marcel the Shell With Shoes On is a film with massive ambitions and an even larger heart.

If you were a fan of Beavis and Butt-Head, you will love them doing The Universe. They haven’t changed a bit, even though the world around them has changed. It is delightfully charming and ridiculous and completely expected, in the best way possible.

It's a more conventional, less anachronistic cousin to the Bridgertons of the world, absent of any orchestral pop music covers or scandal that will steam up the screen, but there are still plenty of familiar genre motifs included to satisfy the most ardent of Regency romance lovers.

While Luhrmann can do his best to recreate the glitzy, nonstop nature of Presley’s life, in those final moments, it’s easy to see that Elvis lacked the weight that this real footage captures. It’s that little bit of substance that reminds how hollow the previous hours of style have been.

Father of the Bride has its heart in the right place, trying to adapt this beloved story for another generation and audience, but by shifting too much away from the traditions of the past, Father of the Bride doesn’t have the same magic that its previous versions have been able to generate.

Good Luck to You, Leo Grande demonstrates that sex can be exciting and humorous and pragmatic and transactional all wrapped up into one. Most importantly, it can also be a connection that doesn't require love to leave both people wholly transformed by the experience.

Lightyear is still an extremely fun action sci-fi film that is better than most animated films released in a given year, and will bring a smile to fans of this character.

Kosinski has already made one of the year's best movies with Maverick, and with an extremely intriguing concept and fantastic performances all around the board, Kosinski has for the second time this year made one of the best movies of this summer.

Lost Illusions may not break the mold in the way Goodfellas did, but it does provide a fun, provocative, hilarious, and at times even moving rags-to-riches tale with a protagonist and a setting we have not seen before.

Dominion isn’t just the worst film in this frequently disappointing franchise, it’s also one of the worst major blockbusters in recent memory.

Hustle isn't breaking the mold of what a sports film can be, but it is yet another reminder of Sandler's gifts as a dramatic actor through an extremely charming and compelling story about a mentor trying to help another reach their potential.

For all its faults, Mickey: The Story of a Mouse is at times a charming look at one of the biggest icons of our time, and while this story has been told many times before, it’s never been told with the sort of scope and frankness about how Disney has maybe failed with their mascot.

It isn't swayed by anything other than the truth as it crafts an uncompromising and steadfast deconstruction of whom the artist the world knew as XXXTentacion actually was. Moving beyond the headlines, it emerges as an absolutely essential piece of filmmaking.

Emergency is ambitious and daring in what it’s trying to say and do, but a mishandling of pacing, serious issues, and pseudo-parody hurt what is a truly intriguing concept.

Diwan’s reflective, quiet tone only highlights the sheer dread of this situation, and shows that restriction and taboos about such issues only makes this world a more cruel and terrifying place. With Happening, Diwan has crafted a horror story that is becoming a haunting and very real possibility.