Teenage Mutant Ninja Turtles: Mutant Mayhem oozes confidence, energy, and heart, and the animated adventure represents a new high for the Turtles on the big screen.

A strong sense of action and movement, but lacking on that whole talking thing.

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.

Nicolas Cage’s live-wire performance fuels a compelling, if predictable, crime thriller.

Cobweb feels like an incomplete collection of horror ideas that aren't explored to their full potential, but it ultimately succeeds thanks to deranged performances by Lizzy Caplan and Antony Starr.

Glitch: The Rise and Fall of HQ Trivia is a fascinating look at the compressed life and death of the HQ Trivia app. It’s a familiar tale of tech failure, but the details – and the massive popularity of the app – make it an interesting one to watch.

A full-tilt biopic unlike any before it, Christopher Nolan’s Oppenheimer is as stunning as it is terrifying.

A masterful exploration of femininity and the pressures of perfection.

The Flood is only tolerable with beers, friends, and low expectations.

In its portrait of a perennially prickly novelist (Thomas Schubert), it gets at tough and sometimes funny truths about the nature of writers.

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.

Bird Box Barcelona ekes by thanks to dependable and lived-in performances, but overstays its post-apocalyptic welcome across its almost two-hour duration.

Insidious: The Red Door is a satisfying conclusion to the Lambert family’s long nightmare journey into The Further, even if it starts to rely too heavily on jump scares by the end.

Whatever lies in store for the future of Mission: Impossible, McQuarrie’s third outing as director proves that he still has an ingenious bag of tricks to pull from, having departed from the gloom and doom of Fallout to create an explosive yet self-reflexive action saga that leaves you wanting more.

The Disney+ documentary Stan Lee is a bland work of corporate propaganda that glosses over or outright ignores Marvel’s controversies

It’s a beautifully animated film that never loses sight of its goals as it seamlessly blends goofy humor and action, an imaginative setting, and powerful emotional moments to produce a memorable and highly relevant family film.

Visually, Pixar is in absolutely top form with the creation of Element City and its inhabitants. Unfortunately, the story is way too thin and none of it makes any sense.

With a steely reserve and killer instinct, Extraction 2 thrives as a buffet of brutality that plays back the mercenary thriller hits with a fresh coat of camouflage paint.

Asteroid City is one of the best movies Wes Anderson has made. It's deceptively hilarious, and includes all the visual flair one would expect from this veteran auteur director and such a large cast of renowned actors.

Though the visual effects aren’t always the best and the third act is a bit overwhelming, strong performances and a refreshing earnestness keep The Flash on track and running circles around many of the recent DC Universe movies. If this is the truly last stop on the Snyderverse express, then it’s a respectable way to go out.

Transformers: Rise of the Beasts proves that the Transformers franchise is accelerating in the right direction, delivering solid Autobots action and a solid voice cast behind the infamous robots in disguise.

It’s one of Scorsese’s most brutal films, yet one of his most thoughtful and self-reflexive, as he crafts a subversive murder “mystery” that leaves no lingering questions save for one.

The Boogeyman is a capable creepshow built for mass appeal that gets the job done because at the end of the day, scary is as scary does.

Spider-Man: Across the Spider-Verse surges with visual inventiveness and vibrance in an undeniably strong evolution of the style established in Into the Spider-Verse. Miles and Gwen’s search for their place in the multiverse is relentless and exciting, almost to a fault, and though the plot is often an afterthought to the pure chaos of creation on display, strong performances and character arcs that feel true to the heroes we met last time help ensure that Across the Spider-Verse is a more-than-worthy follow-up to an all-time classic.

Indiana Jones and the Dial of Destiny fails to recapture Spielberg’s magic. With uninspired action and conflicting themes and character motivations, it’s proof that some things should just be allowed to end.

An underwhelming lead-up to the series finale, Fast X's only real redeeming quality is Jason Momoa's bonkers performance as the villain.

Hypnotic, starring Ben Affleck, is a sci-fi thriller by Robert Rodriguez with few hints of sci-fi, thrills, or Robert Rodriguez.

Knights of the Zodiac fails to inspire enough excitement to meet the prospect of future sequels with its lackluster visual effects and rather clunky storytelling.

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.

The Black Demon barely makes a splash in a pool filled with better shark attack movies, falling victim to a small body count, a grating protagonist, and disappointing digital effects.

The Guardians of the Galaxy deliver their swan song in Vol. 3 and it’s a rockin’ good time. Through Rocket’s tragic origin story we’re given a new appreciation for this whole family of lovable malcontents. And even though the plot has a bit too much going on, some of the humor feels stale, and Adam Warlock was woefully underused, the cast’s incredible chemistry and James Gunn’s soulful style remain unlike anything else in the MCU, and this movie sends them out on an emotional and action-packed high note.

Peter Pan & Wendy is a beautiful take on the classic children's story, retold for all of us who chose to grow up and continue to struggle with our decision.

Renfield makes a mess of its story at times, but does a good enough job getting gorgeously gruesome with its vampire action sequences to win us over with cartoonish gore – and Nicolas Cage's Dracula is one for the ages.

You can find horror movies a lot better than The Pope’s Exorcist, but in an increasingly stale exorcism subgenre, you can absolutely do worse as well – and Russel Crowe’s Italian accent is unintentionally hilarious.

While Mighty Morphin Power Rangers: Once and Always has a deeply emotional story at its center and plenty of fun nostalgic moments to enjoy during its one-hour runtime, it’s hard to shake the feeling that this special needed better effects and dialogue to make it truly Morphenomenal.

The Covenant isn’t Guy Ritchie’s best, but standout performances from Jake Gyllenhaal and Dar Salim as bonded heroes save an otherwise bloated military thriller.

Whenever it dares to display hints of dreamlike abstraction, Carmen quickly returns to its rote formless-ness, as a heatless desert romance about a pair of non-characters on the run. Neither mysterious nor boisterous, it’s one of the most head-scratching musicals in years.

Suzume is a captivating film that depicts the grieving process in a creative and thoughtful manner. It features a strong cast, a moving score, and some truly amazing animation.

It’s the kind of movie worth recommending for its ambition alone, merely to witness the audacious result of anxious self-loathing writ large across the silver screen, without an ounce of restraint. That it’s also a remarkably well-crafted horror-comedy is a cherry on top.

Air is an underdog crowd-pleaser with a standout ensemble cast sharpened to a point. As both director and co-star, Ben Affleck finds a balance between comedy and explanation that remains accessible to all audiences.

The Super Mario Bros. Movie is a fireball of animated fantasy. Mario, Luigi, and Peach’s adventure delights with its infectious energy and smart implementations of video game callbacks, and the top-shelf animation renders the Mushroom Kingdom as an Oz-like wonderland that begs to be explored in the inevitable sequels that will follow.

Dungeons & Dragons: Honor Among Thieves is an accessible fantasy adventure that both roasts and respects D&D culture without losing newcomers along for the ride.

Tetris tries its best to make a story about international video game rights into something infinitely more thrilling, with a smidge better than mixed results.

Despite a stellar performance from Willem Dafoe as a contemplative art thief, Inside lacks the smarts and visual panache to make good use of its single location.

Flamin' Hot is a charming and funny rags-to-riches story with a strong cast, some clever editing, and good use of narration as comedy that make up for its superficial depth.

Evil Dead Rise is both a familiar and refreshing Evil Dead sequel that delivers all the gore you’d expect with a measured dose of the humor that makes this series a fan favorite.

Shazam! Fury of the Gods may not pull the heartstrings like its predecessor, but there’s no shortage of the chaotic good humor and energetic performances that put Billy Batson and the Shazamily on the map.

John Wick: Chapter 4’s incredibly staged set pieces, engaging ensemble, and stylish production design coalesce into a modern action masterclass.

Sword Art Online Progressive: Scherzo of Deep Night won't woo any new fans into the fold, but it's an enjoyable enough return to the world of Aincrad for longtime viewers to dig into.

Despite its limited scope and predictable plot, The Magician’s Elephant succeeds at being a quaint animated film with a positive message.

After five great seasons, Luther’s feature film adaptation proves to be a major let down, robbing the title character and his loyal fans of the little delights that made the series work.

Emotions and brutality are at an all-time high in Scream 6, setting it up to be the best sequel in the franchise yet. Though it does ultimately fumble the reason for Sidney Prescott’s absence, RadioSilence has officially proven that there’s a future for the franchise with or without its original final girl by giving us strong connections to the new Core Four.

While Creed III may not stray too far from the very familiar format of a Rocky movie, seeing Creed truly begin a legacy of his own apart from Rocky Balboa is an exciting chapter for the series.

We Have a Ghost is a mostly bland movie, elevated by a few good performances and an intriguing premise that doesn’t go as far as it seems like it should.

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.

Winnie the Pooh: Blood and Honey is noteworthy only for its name, as it turns out that blending slasher blood with Pooh’s honey together is like oil and water: it just doesn’t mix.

Ant-Man and the Wasp: Quantumania has just enough heart, humor, and excellent performances to make up for its more underdeveloped aspects.

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.

While Sharper is visually stylish and is driven by some excellent performances from Sebastian Stan, Julianne Moore, and Brianna Middleton, this con-artist thriller overuses the same plot twists so much that they lose all their impact, and later the initially shrewd characters become too easily bamboozled.

The Outwaters is found-footage fearlessness that needs to be seen to be believed, but will be met by only the most divisive of reactions.

Jennifer Lopez and Josh Duhamel try their best with an interesting premise that’s squandered by script with barely any laughs, gratuitous violence and unconvincing action.

Before Infinity Pool loses its way toward the end, it proves to be an enticing work of depravity that explores money and privilege through horrifying, violent excess.

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.

There's nothing uniquely surprising or exceptionally rousing, which is a shame given the unfathomably dreadful predicament and an interesting turn of a performance from Dave Bautista. It's a film without sensation that feels like it's pulling its punches across the board – development is stunted, ideas lack passion, and the camera avoids visible violence – before the ending strolls off into the sunset with barely any goodbye.

80 for Brady is a surprisingly sweet and sentimental comedy led by four stellar performances — especially by Lily Tomlin, who’s never been more radiant.

Despite game performances by a slew of returning cast members, it doesn’t justify its existence as anything other than a mercenary attempt by Paramount+ to cash in on audience nostalgia for familiar faces.

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.

New Gods: Yang Jiang is worth watching for its novel animated action sequences, but its muddled story lacks the punch of its predecessor, New Gods: Nezha Reborn.

Kids vs. Aliens brings gloopy, grotesque practical effects to a childlike sci-fi thriller that fails to shine outside kill sequences and costumes.

There's Something Wrong With The Children is an energetic but expected kiddies-gone-killer tale that wades into some murky waters.

The Drop has a great premise about an accident that forces a couple to revisit their relationship and needs, but it never really lives up to its promise.

The Devil Conspiracy is a high-concept religious action flick with horror influences that sells its ambitions short but still entertains despite itself.

Missing owes its best moments to learning from 2018’s Searching, but is a bit of a downgrade in terms of Screenlife usage.

Cate Blanchett’s forceful performance as a world-famous composer makes TÁR a richly detailed exposé of ego.

Its few hints of flair may not cement it as a genre classic, but they’re enough to make it momentarily fun.

A Man Called Otto is a benign comedy-drama that peppers a heart-wrenching story with plenty of eye-rolling jokes to distract you from its perfectly pedestrian plot.

M3GAN capably proves herself more than a horror villain meme, although the film does sometimes struggle to balance the horror and comedy.

The Seven Deadly Sins: Grudge of Edinburgh Part 1 is an entertaining return for fans that feels incomplete, even more so for newcomers.

Whitney Houston: I Wanna Dance With Somebody is yet another music biopic that feels like a checklist of events rather than riveting drama.

Casper Kelly psychotically spoofs the strangest of strange horror titles that turn anything into a murderous entity while unraveling deadly severe social commentaries. It’s abstract art, theater camp, found footage foolishness, hunt-and-stalk depravity — Adult Swim Yule Log is a whole lot of things but, even with a full 90 minutes, few angles feel fully fleshed out.

It's a heartbreaking tragedy, dreamer's comedy, and saucy stumble through double-edged "success" stories, but most of all? It's a bloated, brass-band-swingin' mess.

Dash will leave viewers behind based on the virtue of its obscure construction, yet should excite those seeking alternative character studies based on gig culture, second lives, and the unfaithful depths humans will plummet before telling a simple truth.

Avatar: The Way of Water is a clear improvement on its predecessor and, though its story isn’t breaking new ground, its jaw-dropping visuals make this an irresistible return to Pandora.

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

Puss in Boots: The Last Wish mixes stunning animation with a poignant, surprisingly mature story to deliver the Shrek franchise's answer to Logan we didn't know we needed.

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.

Real-life tragic romance Spoiler Alert is kneecapped by the plainness of its storytelling, and only marginally saved by its performances.

No lies; there are a handful of moments that strike a smile. That said, enjoyment is fleeting like the glee of biting into candy only to find, seconds later, that it's black licorice flavor.

A Wounded Fawn is an artfully chaotic descent into bloodlust, monstrous misogyny, and euphoric comeuppances of the most punishing pleasures.

Violent Night might take a hot minute to find its footing and keeps plucking low-hanging wordplay sugar plums, but at full strength, nobody's stopping Santa from making this year the reddest Christmas imaginable.

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.

Blood Relatives is a warts-and-all brand of vampire indie that gets by with a bit of help from tremendous actor chemistry.

Anna Diop gives a captivating performance as a Senegalese immigrant working to be reunited with her son in an uneven but haunting meditation on motherhood.

Devotion’s a respectful introduction to heroes the world should know and celebrate. Between J.D. Dillard’s thoughtful direction, the shocking clarity of Erik Messerschmidt’s cinematography, a rousing soundscape, and the tight editing, it’s a riveting drama ready to give even the best aerial war story a run for its money.

Guillermo del Toro sprinkles his signature dark whimsy on a fairytale classic with stunning puppetry and catchy original songs. Filled with heart, humor, and historical grounding, it’s a phenomenal feat of animated cinema.

Strange World may fumble its environmentalist themes, but its story of fathers and sons is fairly touching.

Even Ryan Reynolds and Will Ferrell aren’t charming enough to redeem AppleTV+’s humbug musical adaptation of A Christmas Carol.