Nosferatu delivers exactly what it promised — a new version of a classic tale, told by one of our most technically accomplished filmmakers. And this is certainly a more explicitly sexy version of Nosferatu than what the original German film delivered 102 years ago. However, it otherwise follows its source material, as well as the paths laid out by other adaptations, so faithfully that its most original elements feel drowned out by the familiar. It’s perhaps the best-made Dracula adaptation to come around in a long time. But it never feels essential.

It’s a thrilling, surprising, often funny film, centered on a terrific performance.

Millie Bobby Brown is captivating as the quirky Enola, a confident, young woman raised outside the patriarchy by her feminist mother. Brown dives headfirst into the role, and her bubbly charisma is a dynamic change from the quiet strength of Stranger Things’ Eleven.

Fuqua isn’t interested in pushing the genre forward so much as respecting and updating the model accordingly. The director focuses on establishing his gang of gunslingers sturdily enough that the action becomes easy to engage with, and even get excited about.

Behind Meet Cute‘s smart performances and effortless humor lies a bittersweet tale about the agony of choosing to live another day, of making decisions not knowing whether they’re the right ones.

Sopranos superfans will find plenty to love about the prequel film.

Freneticism like this isn’t for everyone. But as far as martial arts epics go, MK is a high-gloss geek show that repeatedly delivers.

Cronin gets that the Evil Dead franchise doesn’t have to be limited to one wisecracking, lantern-jawed battle with the forces of darkness; the Book of the Dead, and its ability to turn those you love against you, is enough to hang a film on if you do it right.

Oh, does Tom Cruise get in his steps over the course of this film, finding new and exciting locations through which to run, which Christopher McQuarrie's cameras capture with just enough of a wink to let the audience know that he gets it.

It’s not reinventing the wheel by any stretch of the imagination, but The Meg is a perfect outing for a balmy late-summer evening at the movies. It’s a little preposterous, a little moving, and a lot entertaining.

The film’s comical bluntness could also be construed as off putting, but to criticize that is to deprive yourself the joy of such pulp. And this is pulp, from the brazenness of its violence to the dull bite of its clunky dialogue. What Election Year offers isn’t nuanced satire, but rather a kind of catharsis, a release that’s not so far off from what the Purge itself purports to provide.

Between Happy’s family life and a whole new series of challenges for him to tackle, there’s enough freshness to the plot to keep it from feeling like a total rehash of what came before, while still delivering wild golf stunts and a huge range of cameos.

Crass but quick, and agreeably popcorn-y, Unhinged could have gone off in far more risible fashion. Not quite a gas, but without crashing and burning entirely, Unhinged gets where it needs to go and fast.

While Uncharted will never be a classic on par with Spielberg’s original swashbuckling adventure, it does no dishonor to that tradition, and even manages to deliver a few unique thrills.

It’s not exactly the repeat masterpiece of yesteryear, but that was never going to happen. Instead, it’s a proper and agreeable reunion for fans who grew up, but still have that hungry desire to toss aside reality and enjoy a little unadulterated fun.

Ma may not cover entirely new ground, but the execution still manages to be refreshing.

Hughes has seen his fair share of dramatizations on film (The Aviator, Melvin & Howard, The Hoax, even The Rocketeer), but Beatty delivers a fresh, idiosyncratic take, about the figure and the people in his orbit of oddity.

Johnson, being a primary voice behind some of this century’s most important documentaries, is a particularly qualified candidate to chronicle life in this way, and her greatest feat, one I can’t imagine anyone else achieving, is her ability to tell the story of her life without ever once talking about herself.

Flanagan’s scares are so precise, so exquisitely timed, that they’re able to imprint the mind as much as quicken the pulse.

We get to see Lopez command the screen as easily as Ramona does the stage, offering up a seductive awards-worthy performance that makes us remember why she became a movie star in the first place.

The Edge of Seventeen has more than enough earnestness of heart to make up for its structural shortcomings. It’s a teen film with an uncommonly honest ear for interactions.

Fortunately, the fourth and final installment of the series, The Trip to Greece, packs plenty of pathos to match its sights and silliness.

Weathering With You’s remarkable animation and delightful characters come together for the perfect storm of creativity, inspiration, and romance. Yet, for all its exploration of the supernatural, the film carries such a profound universal feeling. Sure, it’s another solid love story, but it’s the film’s messages of hope and of keeping one’s head up in the rain that will endure.

Poekel and Audley keep exposition to a minimum, allowing the truth behind Noel’s breakup to emerge organically, in the weight of an object or his reaction to a beaming couple. It’s elegant filmmaking, seamless in its storytelling.

While Finley’s film may be slim on any truly insightful commentary about what makes Amanda and Lily tick, that’s almost beside the point. Instead, this is a film about the fine lines separating civility from chaos, and how it only takes a tiny push to send you across when you’re close enough to it.

On its own merits, Black Adam might feel a little thin in terms of story, but it does deliver plenty of enjoyable moments and a solid ensemble to back up Johnson. But perhaps the most exciting aspect of it is how it might shake up the rest of the franchise going forward.

Always Shine is a fantastic thriller for two-thirds of its runtime, ending with a ballsy third act as admirable in its ambition as it is narratively frustrating.

It’s a feel-good story enlivened by the fact that there’s no overly sentimentalized hokum to be found.