For the majority of its runtime, They/Them seems to entirely forget its pretense of being a horror movie, with long stretches devoid of any sense of tension at all. If its drama was interesting then this wouldn’t have been as much of a problem, but as it stands, the sharp turn into slasher promised by its title feels like a last-minute remembrance in a series of plodding vignettes, something unfortunately furthered by how incredibly toothless the film’s climax comes to be.

Splicing DNA from Heathers, Lord of the Flies, The Invitation, and a host of other influences, Reijn has crafted a shrewd horror comedy that gives the virtual circular firing squads of our modern online lives a real body count.

While she can slide, slash, and shoot with the best of them, Midthunder also imbues Naru with just enough character to keep us invested in her journey. For her, the fight against the Predator means more than just survival: It means validation for her own place in the tribe, the chance to prove her worth by defending her people.

There’s a universe where Bullet Train works — lean harder into the gaudy, neon-pop anime aesthetic, ditch the too-clever character work, and add some honest-to-God jokes into the mix. Unfortunately, as it stands, Bullet Train feels like a lost spec script from the mid-2000s, given a fresh new coat of paint and a few script reworks by some Reddit teens.

The ideas tend to be pretty interesting, even when Novak can’t resist the temptation to indulge in certain tropes.

The film is a welcome return to form for Howard, containing all the makings of a competently crafted crowd-pleasing drama.

Jordan Peele's made a thrilling, exciting blockbuster that also touches on the nature of spectacle, and the ways artists get chewed up and spat out (in some cases, literally) by their work.

Without Evans, this review’s grade would be significantly lower. But even with Evans, The Gray Man simply falls short of expectations. This is exactly the kind of diversion that’s such a treat when done well, and to see it done shabbily is just a massive disappointment. With better editing and a story less strewn with cliches, this could have been such good summer fun. Instead, at best it feels destined to slip from our minds, like so many other Netflix original films.

The bluntness of its messaging proves to be a bit of a detraction, but the fact remains that Where the Crawdads Sing is a heartfelt, and gorgeous picture, the kind which major studios used to make all the time, and now feel like a bit of an endangered species.

The surface-level delights are pretty damn delightful, as is Waititi's ability to just let things be strange for no clear reason other than, well, it's fun or cool or hilarious.

What makes The Princess so surprisingly fun is its commitment to a hooky premise.

The performances are strong, and the film excels in isolated setpieces. It’s just a shame to see a neat idea largely go to waste.

Paramount+ should have thrown this movie a theatrical run; it may more or less amount to an 86-minute pilot episode for the new series that’s coming soon, but it’s also one of the funniest movies of the year.

Luhrmann and Butler have made a compelling and at times wildly entertaining portrait of Elvis Presley — no thanks to Hanks.

If Lightyear is a spaceship heading to infinity and beyond, it's a little bit stuck in its own solar system for now — but that doesn't mean it's not worth the ride.

While some aspects of that history should have been examined more introspectively, the documentary should be considered the definitive recounting of one of the most influential activist groups in American history.

It’s probably a bad sign that of all the players in this film, the dinosaurs are probably the ones one roots for the most. They didn’t ask to be revived for a confusing new era filled with cars and pollution and ridiculous celebrity lawsuits! They’re dinosaurs! They’re innocent in all this!"

If Clueless is the definitive modern-day adaptation of Emma, then Fire Island deserves the same crown for Pride and Prejudice.

If anything, it’s nice to see Sandler doing something he loves in an environment he’s comfortable in and do it with such sincerity. But hopefully in his next dramatic venture, he’ll go for a three-pointer instead of a lay-up.

If you’re a diehard fan of Cronenberg, you’ll still enjoy his latest, even if it doesn’t exactly break the mold of eXistenZ or his other fleshy experiments.

We waited literal years for a Bob’s Burgers movie to hit screens, and it’s here, and it’s a whole lot of fun.

While not bursting with ambition or any interest in deviating from proven formula, A New Era does exactly what you hope it would do, and give series fans a little more time with beloved characters, even daring to alter the status quo in one or two major ways.

Right from the start, Chip n’ Dale: Rescue Rangers knows what it wants to be. It’s clever! It’s playful! It’s meta! Turning the story into a tale of Hollywood has-beens is surely intriguing, and the appeal of the chipmunks investigating a neo-noir mystery largely worked in its favor. However, all the hard-boiled, real world capers may leave fans of the original longing for an altogether different type of revival, more in line with Disney+’s successful, if tragically canceled, reinvestment in DuckTales.

Is it better for a Stephen King franchise to burn out or fade away? Firestarter manages to do both at once.

In a lot of ways, Top Gun: Maverick is the platonic ideal of a film sequel, constantly in dialogue with the original project, and committed to growing and expanding upon that source material.

Strip away the pitch-perfect atmosphere and the genuinely unsettling climax, and his ideas feel shallower than they’ve ever been.

Multiverse of Madness isn’t wildly unconventional in its story choices, but the fun it has exploring the possibilities of this narrative makes it a treat.