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

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.

The film's a fun and humble horror offering set among the world of pretension and status.

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.

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.

A super-charged genre throwback that obscures its meaning but has an alluring visual texture, Divinity is completely unique in its conception of sci-fi dystopia, for better and for worse.

The film paints a nostalgic portrait of the fears we all shared as children - the common knowledge that when our parents left the room, the monsters under our beds - or locked inside our closest - started to shift and scratch; that our only friend in the midnight hour was the nightlight in the corner of the room.

The fun and frightful Scary Stories to Tell in The Dark will introduce a new generation to the joy of being scared.

Sicario: Day of the Soldado is a darkly thrilling film with excellent performances, and its gritty, intense action is balanced by heady themes of moral decay, but overall, because of recent political developments, it feels behind the times.

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.

André and company give a familiar premise fresh verve with an onslaught of outrageous pranks that would do Jackass proud. André and Howrey share crackling chemistry that weaves together the friendship at the film’s core, while heralded scene-stealer Haddish embodies a badass who can make us cackle. Remarkably, the unwitting witnesses to their mayhem are not regarded just as marks, but as co-stars, who pop with one-liners, memorable reactions, and shining humanity.

Kingsman: The Secret Service is a spy movie made by James Bond devotees who know the genre so well that they can have a good time with it while also paying it respect -- and taking it to someplace new entirely.

Part sci-fi satire, part futuristic dramedy, and almost entirely sterile, The Pod Generation seeks to make lofty comments about our world, and the politics of women’s and workers’ autonomy. However, it scarcely has anything to offer beyond the sleek technological designs it tries and fails to critique.

Birds of Prey is a madcap joyride that puts Harley in the driver's seat, but sometimes leaves her cohorts in the dust.

It has no soul or style, and creates no sense of chemistry between lead actors Omar Sy and Nathalie Emmanuel. They try their best to fill the movie's dead air with charm and anguish. Unfortunately, their best isn't enough.

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.

No One Will Save You is at its best when it marries the tension of a home invasion thriller with the thrills of an alien abduction film, and Kaitlyn Dever proves she has the chops to carry a whole movie on strength of her facial expressions alone. However, the film ultimately fumbles when it becomes both a convoluted action film and an on-the-nose parable about overcoming grief and guilt.

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

The film is absolutely beautiful, with some of the most gorgeous sets and images ever committed to celluloid. The three main actors are just incredible - the first two hours are carried almost solely on Rex Harrison's charisma and screen presence. Later, Burton perfectly portrays a deeply flawed man who will do whatever is necessary for love. Elizabeth Taylor anchors the entire film.

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

Freakier Friday clumsily juggles way more plotlines than the original, but the movie shines bright when it focuses on the original duo.

Tom George succeeds in telling an excitably ambiguous case within a self-deprecating whodunit satire, even when employing the easiest tricks in the manual.

Filled with nudity, violence and loads of B-movie fun, Big Bad Mama strikes the perfect balance between exploitative raunchiness, and great low-key action and excitement.

The premise may be intriguing, but the repetitive approach and nearly identical lead characters renders the Ocean's duo without their signature chemistry and strands them in a distractingly underpopulated criminal underworld.

The whole is less than the sum of its parts, but those parts just about make the grade.

It lacks guidance or any real momentum. When Bill Murray isn't on screen, the air is sucked out of the picture, leaving audiences anxiously waiting for his next scene.

If you like weird, boundary-pushing, and unexpected movies that divide audiences you'll probably love The Perfection.

The Many Saints of Newark is a solid and fan-friendly prequel to the classic HBO series, even if it does try to add too much to the Sopranos Universe.

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.

Strong performances and attractive visuals keep Lightyear afloat, but the story isn’t the quality you’d expect from Pixar.

Overlord may not be the Call of Duty: Zombies movie you were expecting, but it is a damn entertaining film about the horror of war, and the thrills of a zombie invasion.

Goat isn’t doing anything new story-wise, but it’s a fun and engaging underdog (or undergoat?) sports comedy that shines thanks to its wonderful production design and animation.

Good Boys somehow manages to balance its risqué, scatological impulses with a surprisingly sweet, resonant coming-of-age tale.

The period setting is sumptuous, and Edward Norton brings true humanity to the role of Lionel Essrog.

Crawl is a fun albeit familiar human vs. beast movie, one that gets plenty of mileage out of its setting and people’s deep-set fear of being eaten.

The main trio within Sierra Burgess Is a Loser - Shannon Purser, Kristine Froseth, and Noah Centineo - are great, but the movie loses itself when it turns away from its more unconventional and grounded elements and leans into the unnecessary '80s dry rub.

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.

A formulaic and depressing motion picture that takes meaningful characters and strips them of their reason to exist.

Wonder Woman 1984 is a bright and hopeful adventure that pays loving homage to the superhero movies of yesteryear.

Bad Times at the El Royale may overstay its welcome a bit, and it never realizes the potential of its villain, but it’s still an engrossing, well-made crime flick bolstered by several fine performances from its ensemble cast.

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.

Almost 20 years into the franchise, Saw X showcases an emotional depth that manages to take one of these stories higher than ever before. Make no mistake, though, the traps are still on full display and Jigsaw still has full intent to showcase the true evils of humanity.

Den of Thieves 2: Pantera is neither better nor worse than the sleeper-hit crime caper that preceded it. Like the original, it’s too long and threatens to become overwhelmed by its own web of underworld intricacies. Nonetheless, with appealing chemistry between stars Gerard Butler and O'Shea Jackson Jr., and a suitably tense third-act heist sequence, it rewards the goodwill the original has built up since its 2018 release.

34 years after it opened, this remains a creative and charming family film.

The Aeronauts is a film flawed from its first concept. By blending fact and fiction so freely, Thorne and Harper turned a story of scientific discovery into a muddling romantic adventure that crashes and burns.

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

Under the Silver Lake never finds a reason for being as weird as it is, making for a confusing and frustrating experience despite its hypnotic visuals and great score.

Though it’s too long, and not every action scene or comedy bit works, Dwayne Johnson, Jason Statham, and terrific rising star Vanessa Kirby ensure that there’s fun to be had in a Fast & the Furious movie not centered around cars or racing.

The classic humor of this film still remains.

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.

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.

Mamma Mia! Here We Go Again knows exactly what it is, what its target audience wants, why and how. Changing things up, ticking boxes and tapping toes, it’s charming, entertaining and way better than many may be expecting it to be.

Self Reliance's comedic riff on The Most Dangerous Game benefits from writer-director-star Jake Johnson’s extraordinary ability to commit to a bit – but it's lacking a sense of danger.

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.

Killing Ground is a well-made movie that, at times, is just too plain ugly. It may be mild compared to other “torture porn,” but it still won’t sit very well with everyone who watches it.

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.

Peaky Blinders: The Immortal Man offers a no-frills wartime backdrop for Cillian Murphy to make a stirring return as Tommy Shelby, with Barry Keoghan standing toe-to-toe with his Irish compadre in a moving match-up. Serving up some dry humor with a few boisterous action set pieces and a thumping contemporary score to boot, director Tom Harper and writer Steven Knight don't color outside the box, which should please fans of the series.

The Mortal Kombat games are all about having fun, and so is the movie, whether it's "good" cinema or not.

White Boy Rick is a well-acted but hurried true crime tale.

You may not like Timothy Dalton as Bond, but the fact is they could put a trained seal in the role and the movies would be basically the same. And by those standards, this one is pretty good.

The Clovehitch Killer is a truly scary and surprisingly thoughtful flick which transcends the trappings of its genre roots with sterling direction and a minimalistic approach to horror.

When the film works, it can be very engaging but it is simply too inconsistent.

Between Two Ferns: The Movie does its best to coat Zach Galifianakis' dense and dopey TV host with a larger story but, in the end, the best parts are still when it's just him glassily staring into the eyes of a movie star and telling them how much they suck at acting.

Dragon Ball Super: Broly delivers in terms of awesome action, but more than that, it uses the fathers of Goku, Vegeta, and Broly to link back to the late-1980s and early-1990s heyday of the series to add a relatable and thoughtful subtext. It’s a humorous movie that bounds into the world of imagination and is gripping to the end.

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.

Godzilla vs. Kong knows exactly what it wants to be, and invests every minute of its two hours living up to that promise. Somewhat understandably the humans are overshadowed by their enormous co-stars, but it is a glorious love letter to these iconic characters’ collective histories, a satisfying culmination of the arc leading up to it, and, hopefully, a jumping-off point for more stories set in this universe. Let’s hope it’s not another half-century before these two crazy kids get together again.

Terrifier 2 rips, tears, hacks, shreds, butchers, disembowels, decapitates, devours, pulverizes, tenderizes, slices, dices, skewers — I'm missing plenty — and knock-em-out-dead eviscerates the current competition when it comes to low-budget slasher effects.

The scary and powerful Doctor Sleep works best when doing its own thing rather than recreating parts of The Shining.

Ultimately, an artsy crime film like this depends on the power of its central performances and how compelling the story’s main point is. Sevigny and Stewart make a good team, keeping you invested in proceedings even when the narrative bogs down.

Springsteen: Deliver Me From Nowhere is small in scope and lacks stakes-heavy drama as far as showbiz biopics go, but as a character study of an artist trying to find his true self before the world of celebrity engulfs them, Scott Cooper’s film and Jeremy Allen White’s awards-worthy performance do The Boss justice.

Josh Hartnett does a fine job in Fight or Flight’s intensely physical, one-versus-100 lead role, but the movie doesn’t have much to offer beyond 15 minutes of inventive action and 80 minutes of aggressive mediocrity.

Michael Showalter and company aren't reinventing the wheel here, but it's a solidly made wheel. Following in the footsteps of similar comedies, The Lovebirds offers a wild ride with outlandish action, plenty of popping punch lines, and a romance you can really root for.

Despite the movie showcasing her brilliance and tenacity, at times it's sanitized and schmaltzy, which takes away from the overall impact of the story.

While it feels like it could use a more nuanced antagonist and is hit or miss in the comedy realm, there’s a nice sense of closure here, too, which would make this a perfect and redemptive beat to end the story on – both for the characters and the franchise as a whole.

Led by immaculate performances, it’s one of the most delightfully nerve-wracking rabbit holes you’re likely to tumble down this year.

While it's the characters that make the movie memorable, it's their actions that make the movie a classic. Filled to the brim with eye-popping stunt and action sequences, the movie is a thrill a minute romp that rarely lets up.

As is expected from a sequel to a surprise action-comedy hit, Bob Odenkirk’s second round of ass-kicking gets a bit more goofy than the first film, in the process losing some of the charm of the original’s more grounded look at an assassin now living as a suburbanite. But Odenkirk’s commitment to the role and director Timo Tjahjanto’s flourishes make this an entertaining sequel that proves that there is a lot of joy to still be found in watching a legendary comedian turn into a one-man army when he’s pushed too far.

James Morosini’s shockingly funny I Love My Dad builds on the actor-director’s real-life tale of being catfished by his distant father. The story is told from the point of view of his dad, a character played with hilarious desperation by comedian Patton Oswalt, resulting in a bizarre act of cinematic empathy that’s as moving as it is intense.

Enemy Mine is one of my favorite sci-fi films.

While there’s plenty of large entertaining set pieces, Sheridan’s intriguing premise withers under its overabundant components.

Bad Boys for Life doesn't reinvent the wheel but if you like the franchise you'll likely love this outrageous sequel.

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.

Featuring a riveting, fully realized, and Oscar-worthy performance by Joaquin Phoenix, Joker would work just as well as an engrossing character study without any of its DC Comics trappings; that it just so happens to be a brilliant Batman-universe movie is icing on the Batfan cake. You will likely leave Joker feeling like I did: unsettled and ready to debate the film for years to come.

The effects might not hold up, but the performances by the likes of Smith, Olivier and other classically trained British actors, as well as Ursula Andress, elevate this to something more than a throwaway fantasy adventure from the early '80s.

Despite its great performances, Next Exit is a mess of a movie that fails to take advantage of its own supernatural premise.

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.

The action scenes here are just lame, and given the choice between good action and lame story (as we had in You Only Live Twice) and good story and lame action, I'll take the action every time.

An accessible, efficiently made but not necessarily invigorating look at finance, reality, and racial injustice in the U.S.

Netflix’s The Monkey King is an example of a potentially great film that’s undone by poor pacing, uneven animation, and a truly unlikable protagonist.

Cruella's gonzo fashion, complicated characters, and truly bonkers backstory are compromised by obligations to be kid-friendly and its time-consuming need to over-explain everything it does.

V/H/S/99 understands the ‘90s assignment and crafts low-budget chaos that delivers a unified anthology slathered in guts, heavy on nostalgia, and with a punk-as-hell attitude.

If you buy a ticket for one killer chimpanzee movie this year, Primate delivers the goofy goods. It has fun set pieces, a great-looking animatronic costumed killer chimp, and applause-worthy gore for those of us who like when our horror gets messy.

Ready or Not 2: Here I Come is an agreeable, if unnecessary sequel which, through its larger scale, proves that less is often more.

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.

Jumanji: Welcome to the Jungle brings audiences back to its classic fictional world with a fun, updated new twist on its well-worn story. So even if some of its subplots and emotional throughlines don’t quite click, the action-packed fun and humor should still make it worth your price of admission.

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.

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.

Curse of Chucky sees the return of the Good Guys doll you love to hate, but sadly he's back with a whimper, not a bang.