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.

It’s a downright magnificent film that puts most modern studio comedies to shame. There isn’t a single joke that doesn’t land with gut-busting precision (even the most ludicrous, over-the-top gags are deeply character-centric), and when the filmmakers want to slow things down and make you take stock of key relationships, Ahn and de Ray know precisely how to paint with light in order to make moments feel like memories.

The Bob’s Burgers Movie is a glorified episode of the series, but that’s hardly a bad thing.

While Tilda Swinton and Idris Elba give it their all, neither can save the film from collapsing in the third act. An unconvincing conclusion undermines a far better first half which sees Swinton and Elba waxing philosophical in a hotel room.

More Jackass is never a bad thing, so Jackass Forever follow-up Jackass 4.5 is fun despite being a scattered collection of interviews and deleted scenes. Like its predecessors, it’s bonus content for a Jackass movie delivered at feature length, which makes it catnip for long-time fans.

There’s social commentary here, but it’s largely incidental. Instead, Armageddon Time stops short of any meaningful statement, spending most of its time admiring the view.

A low-energy comedy remade from a French farce, The Valet tries (and fails) to inject an absurd story of stardom and fake romance with added commentary and sentiment. Eugenio Derbez and Samara Weaving lead a more than capable cast, but they can’t overcome the film’s sluggish length and disconnected story.

Based on the scrappy Japanese zombie comedy One Cut of the Dead, Michel Hazanavicius’ Final Cut is a more polished version — for better and for worse — but it’s just as fun and self-reflexive, while also leaning into its remake status for a few added laughs.

Chip ‘n Dale: Rescue Rangers isn't the first movie to do what it's doing -- with live-action and animation sharing the screen, helping nurture a meta-comedy adventure -- but it's damn fun and one of the cleverest uses of elder pop culture properties in a while.

Despite solid performances from Zac Efron and Ryan Kiera Armstrong, Firestarter feels stifled in story and presentation.

Operation Mincemeat turns an absurd chapter in World War II history into a dour homework assignment.

Thoughtfully conceived and brilliantly acted, it’s one of the most bleakly funny films to come out this year.

The pace of this gorgeously shot Norwegian pseudo-fable will be a roadblock for some, but give Vogt a chance. Storytelling rewards are bountiful once The Innocents executes its conflicts well above the expected maturities of players on screen.

Downton Abbey: A New Era starts out as a wistful return to the familiar before shedding its skin and letting the series’ nauseating ugliness come frothing to the surface. It goes from funny and charming to jaw-droppingly grim at the drop of a hat — a wild tonal whiplash that’s absolutely worth a watch. It’s a concentrated dose of Downton Abbey.

Top Gun: Maverick is an out-of-bounds blast of afterburner fumes and thrillseeker highs that's sure to please audiences looking for a classic summer blockbuster.

Men, from Ex Machina and Annihilation director Alex Garland, is a folk-horror movie about gendered trauma that quickly falls apart. It skillfully builds tension in its first half — with the help of brilliant lead performances — only to have that tension dissipate when its inventive metaphors become consumed by traditional staging and literal explanations.

The Twin wastes its desolate location, talented cast, and strong opening in a meandering story that hinges on a last act reveal that doesn’t pay off.

Doctor Strange in the Multiverse of Madness is a Sam Raimi movie from top to bottom, for better and worse.

Hit the Road is a quietly powerful yet very funny film about the sacrifices we make for family.

Hulu’s Crush is a queer coming-of-age movie in which very little happens, and whose characters barely exist outside of their joking lines of dialogue. Its young actors are a delight, but even as a story of teenage crushes, it rarely captures what it feels like to be young and in love.

Hatching is a scattered body-horror romp with the best child performance this year.

Bubble is an effervescent piece of heartfelt sci-fi that’s as refreshing as its cast and concepts.

Memory is a well-made if uninspired action flick that forges an interesting new take on the genre… then forgets all about it.

The Bad Guys is a fun, family-friendly caper that’s bursting with action and brimming with laughs.

The real heart and soul of the picture is Cage’s on-screen bromance with Pedro Pascal’s Javi. Their chemistry carries the movie into far more memorable territory, and more than makes up for a few of the film’s less-interesting elements.

We’re All Going to the World’s Fair is a moody, slow-burn horror drama about loneliness online.

While not necessarily the very best of this genre, it’s a solid character drama benefiting from strong performances by a top-drawer cast.

The Cellar has a cool and creepy set up but then fizzles once the answers start arriving.

Choose or Die boots up a retro-style survival horror that will muster up a few delightful scares for the generation of gamers who grew up with Zork and The Valley of the Minotaur. But beneath this terror-filled glimpse of the ‘80s lies not much more than a bog-standard horror flick.

A deeply misguided act of worship, it starts out as a hilariously bizarre showreel of strange visual effects, before devolving into a distant, disconnected retelling of the highlights of Dion’s life.

Metal Lords is earnest with metal but sloppy with character and story. It delivers a rousing finale but the journey there is uninspired and half-formed.

It looks drab and feels like it was made by people who want to leave its magical premise behind, even though the series refuses to have anything resembling grown-up politics or perspectives.

Cole Sprouse and Lana Condor are a fun duo, capable of feeling human and endearing in the midst of cosmic turmoil. The movie's not a full home run, but it's surprisingly silly and shrewd.

Morbius is unspectacular in ways that waste the potential of what could be an intriguing hybrid of sinister horror and superhero thrills.

The Contractor may have an underwhelming conclusion, but the journey to get there is an emotional one, with a strong performance by Chris Pine.

You Are Not My Mother effectively mixes folk horror, family drama, and slow-burn scares to deliver an unsettling story elevated by some fantastically nuanced performances.

Bodies Bodies Bodies’ great ensemble and delightfully chaotic script make for a tense and laugh-out-loud funny film.

Cooper Raiff dances around complex emotions with the smoothest of steps in Cha Cha Real Smooth, sliding into the definition of feel-good filmmaking.

The Lost City is a decent action-comedy that coasts on the presence of its stars.

Zach Braff and Gabrielle Union are great pillars here, though the film itself isn't consistent enough with its tone, snapping back and forth between sweet sentiment and cheap gags.

Black Crab has all the ingredients to grab you and take you on a thrill ride -- and at times it achieves this -- but it suffers partial collapse by the end because of its need to land a little loftier than necessary.

Windfall is a tight, smartly constructed thriller that succeeds on the strength of its performances.

Umma isn’t scary, but the themes behind it are terrifying as it deals with generational trauma and guilt. Though the cultural references run deep, it’s overstuffed with symbolic imagery that is never fully explained. Though Oh and Stewart give solid performances, the tone and tension of the story ends up being choppy and underwhelming.

Deep Water aspires to be a boundary-pushing erotic thriller but is stuck treading water in the kiddie pool.

While its gnarly payoffs eventually peter out, X is filled with fun and intense setups that harken back to classic slasher fare.

Linoleum is a heartfelt story about making every day seem like something fantastic.

It walks a tightrope with its topics, but Williams is delicate and confident with every step — his performers following close behind, dominating the screen.

Marcel the Shell With Shoes On suffers from an aimless plot that feels stretched too thin, but it provides one of the most endearing and adorable animated characters since Paddington Bear. It delivers enough heart, laughs, and innocence to forgive its shortcomings.

Richard Linklater’s animated Apollo fantasy is scattered, but sweet.

Everything Everywhere All at Once is a complex film that encompasses a variety of subjects, but it does justice to each of them with a carefully written script, marvelous performances, and a healthy dose of bizarre humor to counter its bleak story. Michelle Yeoh in particular gives a powerhouse performance in a story that puts a fresh, welcome spin on the idea of the multiverse.

Jujutsu Kaisen 0 manages to work as both a standalone introduction to the anime and also a satisfying prequel to those familiar with this world. With stunning animation, complex and memorable characters, and a healthy dose of horror imagery, this is one of the best shonen anime films in a while.

Fresh delivers a full-course meal with dazzling cinematography, disturbing imagery, and one of the best horror performances of the past few years. Sebastian Stan joins the pantheon of horror psychopaths as this delightfully gory movie explores the world of modern dating.

The Adam Project is a thoughtful, witty mash-up of all the movies from my childhood. It’s Back to the Future meets The Last Starfighter with a slew of wonderful performances from a cast that clearly loves the concept as much as I do. Ryan Reynolds is on top form as Adam, while Walker Scobell matches him punch for punch with a great debut performance.

A story of magical transformation as a metaphor for personal and cultural change, Turning Red (from Bao director Domee Shi) is Pixar’s funniest and most imaginative film in years. It captures the wild energy of adolescence, uses pop stars as a timeless window into puberty, and tells a tale of friendship and family in the most delightfully kid-friendly way.

A work of shattering empathy, Drive My Car makes you stare long and hard at people’s withholding exteriors as it carefully chips away at them, revealing how they patiently bear their burdens, working without rest.

Matt Reeves’ violent, thrilling, darkly beautiful take on The Batman more than justifies its place in the franchise’s canon.

The Duke sets up a hilarious social satire under the guise of a comedy crime caper, with buckets of British humor.

Studio 666 features fun performances by the Foo Fighters, but its “kitchen sink” approach leaves it open to unfavorable comparisons to the movies to which it pays homage.

Texas Chainsaw Massacre is a sloppy and gratuitous killing spree with standout deaths but a poorly written story that ruins the experience.

This should be effective in introducing the world of Uncharted to people who are meeting Nate and friends for the first time, although the changes it makes can be inexplicable and jarring to those of us who’ve spent many games with these characters.

Hook's Dante Basco and his brothers deliver an outrageous comedy about love & family in The Fabulous Filipino Brothers.

With a simple but effective script and some fun visual experiments, it's an entertaining conspiracy thriller set in (and very much about) the post-pandemic world.

It takes Death on the Nile far longer than it should to reach its most impactful moments, but actor-director Kenneth Branagh cares deeply enough about Detective Poirot to make it work.

Moonfall makes its big ideas feel small and unimportant.

The fourth (and hopefully final, for the sake of its cast) Jackass is a nostalgic laugh riot.

A film with sights and sounds you’ve never seen or heard, it’s an intriguing watch with catchy, energetic numbers, even if it doesn’t always land emotionally.

It may not always succeed, but it arrives with an energy worthy of the TV comedy legends.

Led by moving performances from Julianne Moore and Finn Wolfhard, the film takes a roundabout approach to its drama, resulting in a realistic portrait of a relationship in stasis.

Writer-director Riley Stearns transforms depression and disappointment into a hilarious confrontation of death and a peculiar tale of self-image in an uncanny film with a precisely bizarre lead performance.

With a layered performance by Regina Hall as the university’s first Black dean of students, the film plays with familiar tropes and images from American horror, but re-fashions them into an unexpected, subdued story with a chilling emotional payoff.

With melancholy performances and an eye for natural beauty, Kogonada’s second feature film draws from masters of the past to create a glowing and moving future.

The Worst Person in the World is a concentrated emotional dose of living through the last half-decade of uncertainty.

Only Kaya Scodelario rises above the mess, working hard to try and craft an earnest and accomplished heroine that is by far too interesting for the rest of the boring dolts in the story.

Belle is a gorgeously animated, futuristic interpretation of Beauty and the Beast that combines dazzling song and eye-popping visuals for a well-meaning yet meandering modern fairy tale. Unfortunately, its heartfelt message is muddled by perplexing plot holes, occasionally grating characters, and a bloated runtime.

The latest addition to the Scream franchise expertly blends reverence for the source material while creating something that feels almost completely new. All of the performances are pitch-perfect as the new generation of Woodsboro teens step into their futures, the kills are gnarly, and no version of toxic fandom is left unmocked.

Parallel Mothers is a really engaging watch with plenty of unforeseen story turns that seem incredibly random at first, but ultimately come together in a very intentional way. Penélope Cruz gives a powerful and beautifully relatable performance as a woman navigating some very messy life choices with wisdom and empathy.

Mother/Android tries to bring an emotional heart to the robot uprising genre, but it’s so laden with tropes and short on personality that it’s hard to care about the characters. What little novelty exists comes far too late in the long, slow movie.

Swan Song is a beautifully acted near-future exploration of self, technology, and the soul.

As a musical, only a few songs really stand out, which is always problematic. There’s also a staginess to the whole endeavor that feels awkward and ham-handed when transposed onto the big screen. But director Joe Wright does get excellent performances from his whole cast, and creates a lush and beautiful period piece playground for the characters to exist within.

The Tender Bar is a coming-of-age dramedy that sails on the backs of the exceptional ensemble cast.

The Lost Daughter is a stunning and unflinching portrait of a woman swimming against the tides of social expectation.

Sing 2 is more of the same, which is dandy.

The Matrix Resurrections is a bunch of really good ideas stacked together to make a bad — and sometimes ugly — film.

The King’s Man’s triumphant action and epic performances are dragged down by a confused story and overlong runtime.

Spider-Man: No Way Home bounces from hilarious to hurt with ease as both the darkest and funniest MCU Spider-Man entry to date.

A film about so many different things that it ends up about none of them, Aaron Sorkin’s Being the Ricardos is visually inert, and features an emotionally stifled performance from Nicole Kidman as the lively Lucille Ball. Javier Bardem brings energy to Desi Arnaz, but it isn’t enough to pick the disjointed pieces up off the floor.

Encounter is a tense, and stylish thriller with some excellent performances, but it’s dragged down by a lack of focus and pointless tangents.

Despite a bit of an imbalance between its first and third acts, Nightmare Alley delivers a delightfully meaty neo-noir packed with solid performances from its impressive ensemble.

Steven Spielberg’s West Side Story is a dazzling complementary piece to the original.

The Humans is a thoughtful and brilliantly acted meditation on family and humanity.

The Summit of the Gods is a standout tale in both story and animation technique.

What Anderson doesn’t give us is the inner lives of anyone in the film.

Bruised is a good outing for Halle Berry as a director, though a better reminder of her as a star. Aside from that, however, the story progression is light on impact.

Resident Evil: Welcome to Raccoon City sticks admirably closely to its source material, but an overly stuffed story and rushed third act hold it back.

House of Gucci starts with such promise as Adam Driver, Lady Gaga, and Al Pacino give performances that bring out the emotional complexity of the historically dysfunctional Gucci family. But then Ridley Scott becomes infatuated with tracking the fall of the corporation and its familial machinations instead of zeroing in on the more compelling personal implosion of Patrizia and Maurizio. Too much of the narrative is given over to side characters and scenes that are overindulgent, which lessens the potency of the tragic story and our investment in where they all end up.

Lin-Manuel Miranda tries to turn Jonathan Larson’s one-man show into a traditional musical, but ends up getting stuck halfway in between. However, Andrew Garfield delivers a tremendous, running-on-fumes performance as the real-life Broadway mainstay, whose impending 30th birthday pushes him to his creative and emotional brink.

Zeros and Ones uses the spy genre as a thin mask for a fever dream that evokes nightmarish uncertainty.

Black Friday proves to be a winning combination of gloppy scares, well-crafted characters, and wise commentary.