Spiral is a frustrating animal: In its first half, it styles itself as a prestige sequel/revamp of a cult horror series, lifting it from its nu-metal origins into a moodier, Se7en-styled police thriller. But despite its promising start, the latter half of Spiral succumbs to formula, like a bloodied Jigsaw victim fainting from their wounds so the blades can finish the job.

Snyder’s momentum starts to lose steam around the 90-minute mark, and there are too many kooky concepts left frustratingly unexplored. But as a showcase for Snyder’s deft command of action and ink-black sense of humor, Army of the Dead is an exciting piece of brain-chewing fun.

In What Drives Us, Grohl reminds us of the transcendent, transformative power of live music on both sides of the stage and makes the itch to get back in the pit that much more tantalizing. It gets lost a few times along the way to its destination, but the journey is certainly a lot of fun.

Many shots fired, all of them misses. This is a film without quality, care, or any real decency.

Though it often feels like the safest, most predictable version of the film we could’ve gotten, Stowaway is a tense, chilling space thriller that coasts to victory on the strength of its premise and the believability of its cast.

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.

Better than My Super-Ex Girlfriend, sloppier than Hancock, it’s nothing dynamic but fun all the same. And frankly, not every superhero flick or comedy needs to be the Super-person of its domain. Likability is sometimes an underrated super-power, and Thunder Force is bursting with it.

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.

Brimming with genuine enthusiasm and chill-inducing moments of earnest joy, We Are The Thousand highlights the absolute best that music and humanity has to offer.

Paced to perfection and grounded by a magnetic leading performance, Shiva Baby is as painfully awkward as it is impossible to look away from.

Concrete Cowboy is visually engaging, and might appeal to younger teenagers (its R-rating is primarily for language). But anyone already familiar with the dynamics of summer-vacation character-building may find it unsatisfying—even unconvincing.

Martin and Lindsay’s Tina all too often struggles to show Turner as a three-dimensional person — her wants, her beliefs, her passions — in lieu of her being a product of the abuse she withstood from Ike. As a tribute, it’s a disappointing slog for an always-vibrant legend.

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.

In a genre often saturated with sugar-coated stories and selective memories, Poly Styrene: I Am a Cliché proves to be anything but.

Highlighting the reciprocal nature that many musicians share with their fans in unprecedented fashion, the film’s raw and authentic approach is as engaging as Charli herself.

Somewhere You Feel Free is a beautiful musical tribute to one of rock’s greatest figures, gone all too soon. Just don’t expect to learn too many deep dark secrets about the man in the process.

This is a three-hour documentary whose only problem is that it’s not even longer. Whether you’re a lifelong genre fiend or someone who just sampled Midsommar for the first time and needs another fix, Woodlands Dark and Days Bewitched is an absorbing academic exercise in the pedagogy of folk horror.

Even when the narrative strays or lingers a few moments too long, it is Kier that reels it back in. Ultimately, Swan Song succeeds and proves that fabulousness has no expiration date.

It’s rough, messy, and overlong, but may well capture the well-intentioned spirit of what it’s trying to do better than the compromised version we got at release. It may even be something I revisit in the future — just maybe not all in one sitting.

Though clumsily paced and in need of a little more structure, Soleil Moon Frye’s Kid 90 is an achingly personal insight into what it means to truly understand and connect with your past, disguised as a documentary about the perils and pitfalls of childhood stardom in the blossoming age of technology.

For a 33 years-late follow up to a fan favorite? This isn’t terrible, not even close. Will it split the royal underlings that vaunt Landis’s ’88 effort? Maybe. For now, Coming 2 America deserves to be enjoyed as one of Murphy’s better follow-ups.

SpongeBob fans of all ages will find plenty to like about Sponge On the Run: It’s funny, well-animated, and high-spirited. But it’s ultimately more of a franchise play than a creative endeavor.

Lucky is not perfect, but metaphors rarely are. There are jarring narrative jumps that never resolve and a superficiality and dry humor that keep the intensity fairly low. But the message is a blunt one. And given the heavy topic, this levity works in the film’s favor.

Moxie is an inspirational and cathartic journey, representing a dilemma most feminists have faced at one point in their lives. The question of how to use our voices is an important one and Moxie shows that the answers are as varied as the women and men making them. But it’s also an honest look at the challenges and frustrations on the road to gender equality.

Though Raya and the Last Dragon is a visual and audible spectacle anchored by an all-star cast, the film’s lack of originality and paper-thin characters leave it on the less memorable end of Disney animated films.

Andra Day’s Golden Globe-nominated portrayal of Billie Holiday elevates this film and allows us to overlook some of its shortcomings. Her onstage presence is absolutely undeniable. However, Daniels’ interpretation of the singer’s final years fails to fully explore key aspects of Holiday’s life that informed who she was beyond her addiction and activism.

The dispiriting thing is that Tom & Jerry is far from the worst family film in the world. It’s just a familiar, by-the-books, vertically integrated product to ensure continued IP visibility for the film and television arm of a corporate portfolio. Here’s the latest and laziest IP for you to become disenchanted by, should you feel so inclined.

The World’s a Little Blurry is an honest depiction of what it’s like to be a teenage girl. What makes that successful portrayal even more moving is that this particular teenage girl’s life is so untypical to begin with. Although the film runs long, it’s hard to point out any scene that could be cut, because every moment adds to the collage that is Billie Eilish’s world.