Rise of the Teenage Mutant Turtles: The Movie soundly trumps other Turtles reboots in the humor and heart departments, although its simple plot keeps it just short of amazing.

Showing Up is the wonderfully muted tale of an artist struggling with expectation while dealing with her own insecurities.

Triangle of Sadness pokes fun at the ultra-rich, playing their undoing for laughs in the worst of situations. It’s a masterclass in cringe comedy with Harris Dickinson playing it straight throughout as he finds himself in appallingly toe-curling situations.

Colin Farrell plumbs emotional and comedic depths in Martin McDonagh’s witty and wistful period drama, with Brendan Gleeson and Barry Keoghan on solid supporting duty. Set against the stunning vistas of Ireland, The Banshees of Inisherin tells an effective and corrosive tale of friendship.

An effective debut feature from director Riley Keough, War Pony is a rare breed – a native story told by an outsider seeking to uplift the community rather than exploit it.

In depicting both Pagnol and Chomet’s search for authentic truths within their stylized works, it’s a perfect marriage of subject and form.

Funny Pages may be the most cringeworthy movie you'll see all year — and that's a good thing.

Beavis and Butt-Head Do the Universe brings the boys back for an intergalactic comedy with plenty of their trademark crude laughs.

Barbarian is one of the wildest horror films in years from its combination of subgenres to full-throttle approach to unapologetic exploitation themes.

Battle Beyond the Stars might not rank up there with Star Wars, but it certainly tries hard, and it's an admirable experience filled with B-movie awesomeness, and plenty of nostalgia.

It may be slow to begin with, but it all results in an unexpected finale that is sure to shock and stay with you long after the movie has ended.

For true Ray Harryhausen fans, Jason and the Argonauts will remain one of his greatest feats. And if you bring yourself back to the era, you'll find a world of wonder yourself.

If you're able to suspend disbelief, the film's strengths outweigh the many weaknesses. The action sequences are a lot of the fun. The adventure is exciting. And the story perfectly replicates the style and tone of a classic adventure or Saturday matinee serial.

A lush, richly conceived cannibal road-trip romance, Luca Guadagnino’s Bones and All lives in the intimate space between love and self-hatred, with characters who connect over their shared hunger for human flesh.

It's quite possibly the greatest Batman movie ever.

Hellraiser is a reinvigorated reboot that gets the blood pumping, starting with Jamie Clayton’s worthy Pinhead performance that sets a fresh tone with immense reverence paid to Clive Barker's works.

Confess, Fletch is a clever soft-baked cookie of a mystery, never getting too intense or presenting massive stakes, which is the perfect sandbox for a wise-cracking investigator like Fletch to play around in as he relies on a mix of charm, smarts, and luck to make it through to the other side.

The Good Nurse shines a light on the inherent darkness of a for-profit healthcare system while exploring the even darker recesses that allow a serial killer to thrive. Based on a true story, it’s a terrifying examination of systemic failures, not to mention a wild cover-up from self-interested hospitals.

Henry Selick returns to our screens with Wendell & Wild, a new stop-motion nightmare that brings an edgier and darker tone, more mature subjects, and even more laughs to the director's toolbox. Partnering with Jordan Peele and Keegan-Michael Key, this is a feast for the eyes; a hilarious, spooky, empowering story; and a movie you'll want to add to your Halloween rotation.

Netflix’s Scrooge: A Christmas Carol manages to delight thanks to solid animation, a lively cast, and strong musical performances.

A harrowing tale rooted in real events, Women Talking takes a stage-like approach to its debate between victimized women in a commune, but imbues it with cinematic flourishes. It’s also one of the rare ensemble movies where every single performance makes it worth watching.

Barry Jenkins’ Mufasa is a strong, uncomplicated effort that should charm kids. The Moonlight directors involvement in a CGI-heavey Disney prequel caused serious film lovers to wring their hands, but the results speak for themselves: This is simply a lovely movie.

Alice, Darling is a measured, affecting observation of a young woman finally coming to grips with how much an emotionally toxic romantic relationship has viscerally changed her.

Magic Mike’s Last Dance is measured and mature, which makes it less of a crowd-pleaser than the first two movies, but it allows Channing Tatum and Salma Hayek to bask in their incredible romantic chemistry.

They Cloned Tyrone is a comical mash-up of genres that pays homage to 1970’s Blaxploitation. It features a strong cast, an engaging premise, and a stylish aesthetic that sets it apart from similar films.

It’s a joyful, uplifting ode to tokusatsu and to superhero tales, and well worth a watch no matter your level of familiarity with the character.

Kenneth Branagh’s third Poirot film is his best and strangest yet.

Kingdom of the Planet of the Apes It’s not as emotionally complex as Dawn of the Planet of the Apes or War for the Planet of the Apes, and isn’t attempting to punch you in the gut like those films do. But as this series enters its post-Caesar, Disney-owned era, Planet of the Apes is still on remarkably solid footing.

It’s a film that fits perfectly within the confines of a romantic comedy even while it swaps out every familiar element and explores brand-new dimensions in the process.

With scenes of natural disaster grounded in a human point of view, Lee Isaac Chung's spiritual sequel transcends its visual shortcomings, and proves to be a wildly fun and effective summer blockbuster worth watching on the biggest and loudest screen.

Few Hollywood genre films are as honest about capturing the underlying reasons relationships implode; even fewer are as adept at turning that implosion into razor-wire corporate drama.

It’s gory, fun as hell, packed with hilarious grotesque kills and over-the-top characters, and at 90-ish minutes, it’s paced near perfectly and never overstays its welcome or overdoses on the joke.

Gladiator II finds strength and honor in the well-worn armor of its predecessor. Paul Mescal is adept in the belabored-hero role, going toe-to-toe with not only the delightfully deranged Joseph Quinn and Fred Hechinger, but also with Denzel Washington, whose mercurial Macrinus practically screams “ARE YOU NOT ENTERTAINED” at the audience every second he’s onscreen.

Sisu keeps it simple as a smaller-focus WWII epic that loves killing Nazis as much as we love watching them die in over-the-top ways.

It’s a spinoff that knows why the John Wick series has been so successful, and both effectively follows the rules while adding to the ever expanding world. While it takes a good portion of its screentime to find confident footing, when the second half gets moving, the energy is undeniable as Ballerina becomes one funny, bloody and creative fight scene after another. I’m hoping for an encore.

A soulful ghost story that does an unexpectedly solid job speaking to younger audiences about the afterlife, nailing the film’s appropriately spooky gateway-horror ambitions.

Problemista is a deeply considered, fantastical tromp through a wonderland of the mundane.

Poor Things is sex-comedy Frankenstein by way of Jules Verne, and one of the most imaginative comedies in years.

Sofia Coppola proves to be the perfect choice to tackle the life of Priscilla Presley through a film that deeply understands the desires and dreams of a teenage girl

Aside from a few pacing issues, Saltburn delivers an uncompromising vision from Emerald Fennell, an Oscar-winning writer director with a unique voice. It not only capitalizes on the kudos she received for Promising Young Woman, but cements Barry Keoghan’s leading man status.

Harmony Korine’s infrared assassin movie Aggro Dr1ft is a video-game-inspired experiment that’ll have you in a trance.

It’s a distinctly less subtle look at misogyny than her #MeToo masterpiece The Assistant, but Green further distinguishes herself as one of the most exciting and provocative feminist filmmakers around.

A rousing, spectacle-filled blockbuster, Godzilla: Minus One takes the king of the monsters back to his roots in post-WWII Japan. The story is character-driven, but the monster scenes are exciting and effective.

Nicolas Cage plays a mediocre stand-in for all 'canceled' men in this provocative cringe comedy, driven by a sharp screenplay and subtly surreal filmmaking.

As much as its focus is technological, it’s an emotional exploration too – a wry and thoughtful magnification of what life feels like when you lose and re-discover your purpose, or you learn to see yourself through someone else’s eyes.

Love Lies Bleeding combines intense lesbian sexuality with shocking, graphic violence for a film that really gets the blood pumping. Kristen Stewart embodies her dirtbag character with the jumpy physicality she does so well, and her chemistry with co-star Katy O’Brian is powerful. The film loses focus as it escalates to hysterical heights in its second half, but its pulpy, fetishistic pleasures are potent.

The Shrouds may seem impenetrable at first, but it grows in the mind and heart like a cancer. Let it linger long enough, and it also starts to feel like Cronenberg's most complete, self-assured, and dramatically accomplished work in years.

A deeply depressing comedic experience (thanks at least in part to accidental political timing), Bong’s remix of Edward Ashton’s novel presents a Trump-like villain and no worthy heroes, resulting in a farcical sci-fi adventure whose symbolism makes up for its misshapen character drama.

A Different Man is a twisted, sometimes grueling, frequently darkly funny ride with standout performances from Sebastian Stan and Adam Pearson.

David Lowery’s latest is a visually fascinating chamber piece with great performances from Anne Hathaway and Michaela Coel.

It doesn't always work; it loses its way midway through, as though in desperate search of purpose. But when it finds that purpose, it makes a powerful emotional impression: Visually splendid, emotionally arresting, and features some of the finest filmmaking of Guadagnino's already-accomplished career.

Saulnier savages the legal loopholes that allow police to exploit their community, all while offering the year’s most breathlessly suspenseful standoffs. It’s what a modern crowd-pleaser should be: smart, gripping, and about something.

Sure, it’s an exaggerated and somewhat obvious film, but that doesn’t make director Coralie Fargeat’s point any less true – nor does it detract from the tremendously gory way in which she makes it.

The First Omen is a fiendishly entertaining origin story for both the antichrist and a filmmaker to watch.

Abigail is a hilariously gory romp that banks on a memorable ensemble cast and a witty screenplay that invigorates vampire tropes with a refreshing drollness.

My Old Ass is a sweet, hilarious coming-of-age story anchored by Aubrey Plaza and Maisy Stella’s excellent comedic and emotional chemistry.

A Real Pain is a hilarious and tender drama that shows us that truly living is the only way to honor those we've lost.

In a Violent Nature is a clever slasher experiment that underdelivers in the story department but more than makes up for it with some clever kills that will be sure to linger long after the credits roll.

Dìdi is a chaotic crowd-pleaser that effectively represents the messy process of finding oneself in the midst of adolescence.

Superman is a wonderfully entertaining, heartfelt cinematic reset for the Man of Steel, and a great new start for the DC universe on the big screen.

A deeply human film with no human characters, The Wild Robot is a tear-jerking and unpredictable animated adventure.

Y2K is a deadly unserious disaster comedy featuring fantastic cyber-monster effects and humor inspired by the time period.

The movie plays its fun, spooky premise as straight as possible, while winking at the absurdity of its analog aesthetic.

Weaving’s expressive face and boundless energy make her a compelling heroine, and her will to survive is unstoppable.

This is an irreplicable experience that speaks volumes about following your dreams despite the challenges that await. The reward will always be worthwhile, even if it’s just about the friends you make and NPC cops you massacre along the way.

Alien: Romulus’s back-to-basics approach to blockbuster horror boils everything fans love about the tonally-fluid franchise into one brutal, nerve-wracking experience.

MoviePass, MovieCrash is an abundantly entertaining, easily digestible rendering of a ‘too crazy to be true’ story that looks at the turbulent, short life of the company from the perspective of its creators, its destroyers, and the rank-and-file workers who could do nothing but watch it all go down in flames.

Crackling comedy, a sizzling age-gap romance and a new kind of sincerity make Bridget Jones: Mad About the Boy second-best only to the original.

The look of the sequel builds off the vibrant world of the original, and while thematically the movie may bite off more than it can chew, Zootopia 2, like its bunny-cop hero, shares a contagious hope that things can always change.

Lorcan Finnegan’s smart survival thriller The Surfer sets a brutal, sun-soaked stage for star Nicolas Cage to do what he does best: go completely nuts.

Subtle and intuitive, this documentary about NYC psychics asks all the right questions.

While its flaws are rooted in what it avoids, its marriage of topic and form yields a blast of positivity in a way that perfectly suits its withholding subject, granting his interviews the kind of depth and creativity embodied by his music. While it avoids all thorny entanglements, it looks good and feels great, like any LEGO movie should.

This is a relentlessly grim film with an unsettling view of human nature; its audience will be small and self-selecting, but those who like having their guts ripped out by a movie will leave the theater satisfied.

Blue Lock: Episode Nagi improves upon the first season's story by retelling the it from a fresh perspective – adding new dimensions to a fan favorite character in the process.

The Sheep Detectives is a very sweet, and often quite moving, family comedy about grief and death. I know that sounds weird, but director Kyle Balda and screenwriter Craig Mazin are mostly successful at threading that needle, with the broad humor of some of the human characters being the film’s weakest aspect. The sheep characters Lily and Sebastian have compelling arcs that highlight the movie’s themes of acceptance and growth. As dark as the story can sometimes get, there’s still enough warmth and wit to make The Sheep Detectives appropriate for younger audiences.

In spite of all of its nail-biting close calls and harrowing footage from the actual rescue, it’s actually a lot of fun.

While the bones of the story itself may not be particularly groundbreaking, what’s brilliant about We Live in Time is that it encourages us to find wonder in the everyday.

Its story of three couples working at the same British agency turns all the right screws with impeccable timing, forcing its characters to examine the flaws in their relationships as its tale of state secrets gradually unravels.

In the end, Let Sleeping Corpses Lie is one of the best zombie films that no one's ever seen. It owes a great deal to Romero's Night of the Living Dead, yet it also manages to stand quite nicely on its own merits. While the film does have a few script and pacing problems, it more than makes up for them with it's excellent atmosphere and solid gore work.

With impressive animation and a faithful script, Watchmen Chapter 1 is clearly a labor of love. But while it avoids some of the pitfalls of prior adaptations, it also reveals a few of its own.

Danielle Deadwyler shines in 40 Acres, a post-apocalyptic home-invasion thriller that injects heart and soul into standard thrills.

Cloud is a masterful, paranoia-inducing action-thriller with a horror maestro’s touch, filled with great performances, terrifying scares, and a finale that will linger in your mind long after it’s over.

With a cast that takes wildly different approaches to characters we already know from film and TV, and a camera that never slows down, Saturday Night is chaotic in wildly enjoyable ways. The lead-up to the historic premiere of SNL plays like an extended 90-minute climax.

V/H/S/Beyond is the most cohesive, best arranged, and most creatively complementary V/H/S yet. Here’s hoping we get a bundle of found-footage mayhem like this one every Halloween for the foreseeable future.

The bold risk of transforming Robbie Williams into an enjoyable CGI chimp pays off both emotionally and visually. Turning his back catalogue into epic musical numbers with stunning choreography and heart-wrenching storytelling, Better Man comes out swinging and winning.

Drew Hancock’s Companion is a funny and clever thriller, carefully balancing dark moments of violence and unsetting reveals with a disarming sense of humor.

Lilo & Stitch is one of the stronger results of Disney’s non-stop remake campaign, taking the emotional core of the original and amplifying it in a stirring manner.

Novocaine offers more depth than its gimmicky “man who feels no pain” premise may lead you to believe. This movie breathes new life into old ideas, with an original hero buoyed by the charm of Jack Quaid and a heroine who ably beats the damsel-in-distress allegations. Novocaine is smart, but not so self-aware that it’s likely to alienate anybody; sharp, but not without feeling.

Alex Garland and Ray Mendoza’s Warfare is incredibly effective at putting you into the middle of combat, evoking feelings of dread and terror usually reserved for the darkest horror movies.

There’s a wit and humor at play in The Bone Temple that elevates, in all the right ways, the dramatic stakes of a zombie apocalypse working on its third decade, especially in Ralph Fiennes’ record collection.

In The Accountant 2, Ben Affleck and Jon Bernthal return for a sentimental, politically charged, and surprisingly funny action sequel about brothers trying their best to connect.

Train Dreams is a gentle but poignant pastoral Western chronicling a life lived over many years. Joel Edgerton and Felicity Jones are excellent, Adolpho Veloso’s cinematography is gorgeous, and Clint Bentley’s direction is far more careful and considered than you might expect for a filmmaker with so few features under their belt.

An obvious codependency metaphor becomes a body-horror blast in Michael Shanks’ Together.

OBEX is a lo-fi stunner of a video game movie, merging a deeper understanding of the way games work with playful and creative sequences that also pack a deeply emotional punch.

In Final Destination: Bloodlines, death is the life of the party. There’s little novelty to the boilerplate family trauma plot of this sixth Final Destination movie, but what its comedy-forward take on the franchise’s established formula lacks in thematic depth, it more than makes up for with delightful, well-designed kills and boundless gallows humor.

Ne Zha 2 starts out tedious and juvenile, but after its first hour it pivots to enormous and spectacular fist-pumping action and tear-jerking intimacy.

O'Dessa delivers a bold, catchy musical set in a vibrant cyberpunk world that mixes naturalistic visuals with an aesthetic indebted to 1980s sci-fi and fantasy films. Sadie Sink shines as a singer who can change the world with her ballads, with a gender norm-defying performance and an enchanting singing voice.