Lemon remains wholly original throughout, rendering old themes fresh with its bold perspective. It’s also incredibly funny, even when it’s dunking our heads into the darkness of the human psyche.

Little Monsters oozes with heart and soul, making for an ultra likable, last-minute addition to a genre that should be buried 12-feet under in the near future.

Galifianakis delivers a reminder of just what makes his brand of comedy so unique, special, and even a little daring.

Smiles will surface, regardless, as Godzilla vs. Kong is pure escapism and tremendously fun. Legendary clearly took constructive criticism to heart by tinkering with the pitfalls of its Monsterverse, all of which makes for a stylish theme park ride that rarely loses steam. Granted, the smash ’em and mash ’em action may not be for everyone (you have our sympathies), but for those starving for a rock ’em and shock ’em blockbuster, step into the ring with Godzilla vs. Kong.

No Hard Feelings ends up belonging to Andrew Barth Feldman, who very soon may be one of Hollywood’s go-to leading men (following his year-long stint as the titular role in Dear Evan Hansen). Despite the script’s slightly jumbled ending, Feldman aces his character’s transformation, and finds dozens of moments to truly shine.

This is sharp blockbuster filmmaking, coming at a time when IP is seemingly the only thing that gets any door open in Hollywood these days. Rather than churn out something cynical or pandering, though, Flanagan has instead taken that IP and instilled it with heart. Not just the chummy heart he’s hallmarked in past efforts, but the kind that comes from a creator who’s offered a chance to truly honor his influences and run with them.

The presentation and little tweaks along the way make Sing far less grating than you’d expect. There are dozens of great moments, beats, and tunes.

Lizzie isn’t exactly an exciting film, but it’s absolutely a compelling one. Much of that, again, emerges from Sevigny’s work, who finds the notes of delicacy that the film around her occasionally lacks.

It’s a committed portrait of an artist, with White’s devotion to capturing Bruce’s soul almost overcoming the lack of physical resemblance… And you do eventually get used to that. For he’s not trying to be the definitive Bruce Springsteen, either — just a ghost of a man who was lost, and found what he was looking for in his music.

The Lovebirds is exactly what you want right now in quarantine. It’s a city-scrolling adventure with two catchy leads and romance to boot. It’s the perfect date movie.

The most surprising thing about Bridget Jones’s Baby has nothing to do with the perennial singleton’s offspring or the tropes of romantic comedies. What’s surprising is that, despite all the contrivances and stale conventions, this movie’s not half bad, and occasionally better than that.

Elvis & Nixon will not go down as the best movie you’ll see this year, but it very well may be among the most purely entertaining.

It’s a movie made of brief chuckles and obvious but well-meaning lessons, and if it lacks the grander ambition of some of the studio’s best and most memorable work, it’s still an enjoyable watch.

Jakob’s Wife is a fun throwback to gory vampire horror, but its gory surface covers some troubling implications. The problem lies in presenting two oppositional arguments and not fully interrogating either of them.

Bad Boys for Life thrives from stellar action filmmaking and could be an affecting closer to an action film trilogy, even if there are moments that feel like an attempt to build a cinematic universe of sorts (including a misguided post-credits tag).

Eve’s backstory proves relatively trite, and the character is given nothing to connect with before or after she sets off on her quest.

Neither Todd Phillips’ hollow script nor his hey-check-this-shit-out direction offer much to work with, but Phoenix still manages to wring enough out of Fleck to make Joker almost work as a character study.

Bailey is genuinely great in the role. But the changes added to the original story feel superficial, only giving the narrative an illusion of depth.

Stone, Thompson, and the gang are all having a ball wearing incredible costumes and living up a squeaky-clean version of ’70s punk fabulousness, and it’s hard not to let that infectious glee take over for a while.

Something’s missing in Complete Unknown, and it’s a spiritual issue. The problem is that for this situation, the unlikely reunion, a natural approach restricts any and all sensationalism, which is why the ending neither bruises nor squeezes — it just lingers.

For its unconventional structure and occasional flights of fancy, The Glorias all too often reads as a bog-standard biopic more interested in recounting history than telling a story.

If you’re willing to lean into the movie’s complete and utter stupidity, Jumanji might just stumble through its languorous two-hour runtime on sheer charm.

While The Accountant 2 isn’t a wholly successful movie, or a wholly successful depiction of autism, it does at least spotlight an autistic character who lives a full life and seems content — who does, in fact, date and do his taxes. It’s not a triumph of representation, but it’s got a better understanding of the subject matter than some government officials do.

It: Chapter Two doubles down on the exhausting jump scares and CGI that plagued the 2017 original. Yet for all its faults—and there are many—it’s still an enthralling and emotionally affecting piece of blockbuster filmmaking.

As the film reaches its conclusion, it seems that the finale needed a more complex foundation underneath the surface for its impact to fully resonate.

There’s just not a lot of weight to this sequel, at least not enough to dissuade anyone from seeing this as anything but a limpid cash grab.

Nerve is refreshing and frustrating in equal measures, mining a genuinely inventive concept for some memorable, Mean Girls-esque pathos about the ways in which the Internet is changing and magnifying social structures for young people today.

It’s a valid mission, one supposes, but rendering Bonnie, Clyde, and their cultural impact in such a one-dimensional fashion doesn’t add weight to its subjects. It only serves to strip dimension away from their own story.