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

There are some funny lines peppered throughout, but more often than not, it feels like the easiest and most simplistic version of this story rather than going for something either truly darkly subversive or hitting the emotional heights it’s going for.

Though mostly played straight, Faces of Death has a wicked sense of humor that’s used in a commendable manner. It’s not overplayed, but always lurking under the surface, and it provides some of that aforementioned twisted fun.

Exit 8 can feel inspired, but only in fits and starts.

If you think ballerinas using their dance skills to fight and kill bad guys sounds fun, Pretty Lethal does deliver on its premise. However, it takes too long to get going, and is ultimately a somewhat amusing trifle instead of the more fun spectacle it could have been.

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

The Super Mario Galaxy Movie ditches an engaging story in favor of a pipe-bursting amount of Easter eggs, but that’s not an all-together bad thing.

Bob Odenkirk’s presence helps create a sense of gravitas even when the film is straightforward, adding soulful dimensions to a fairly simple character in whose hands guns and explosives are as much tools of violence as they are instruments of a righteousness long lost to moral compromise.

They Will Kill You is a modern action gem with a knockout leading performance by Zazie Beetz, who more than cements her status as a star of the genre we ought to see more of.

A tale of miserable spouses plotting each other’s demise, it doesn’t always work, but its action comedy stylings are enough to keep it entertaining even when it swerves into ugly excess or extraneous subplots.

The sequel to Bollywood’s biggest hit is bigger, longer, and just as vicious in its on-screen butchery, but has far less artistry and visceral allure. The continued spy-revenge saga runs a mind-numbing four hours, during which it sheds all semblance of human drama in favor of naked political propaganda that reveals the emperor has no clothes.

Project Hail Mary is a rollicking sci-fi blockbuster celebrating how much we can accomplish when we work together… and how much meet-cute mileage you can get out of watching Ryan Gosling befriend a rock alien for two and a half hours.

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

Effectively moody, but disjointed and over-reliant on played-out horror audio gags, Undertone sounds better in concept than it plays on screen.

War Machine has just enough juice to prevent it from being a Snore Machine.

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

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.

Scream 7 packs in plenty of satisfying slasher action, and may even bring some lapsed fans back into the fold by focusing down the scope of that action after Scream 6, but the new ideas it does bring to the table are either too thin to fully explore or ill-advised enough to detract from the success the movie does find in playing the hits, the deep cuts, and the killer tracks.

Psycho Killer may "have a Hulk," but it's also a parade of missteps and missed opportunities.

EPiC: Elvis Presley in Concert is a riveting, immersive experience that brings the King back to life for one last show.

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.

Crime 101 has everything a heist thriller ought to have… but not much else.

It’s not a home run, but it’s an enjoyably goofy and gory time.

Part guerrilla prank saga, part heartwarming friendship story, and part riff on Back to the Future, the result is an incredibly fine-tuned mishmash of styles and ideas that keeps evolving in surprising ways.

It's a melting pot of experiences from comical to romantic to thrilling to richly ruminative. Everything flows together gracefully in step through a delicate and beautiful dance that speaks to the ever-changing beast that is New York City.

Mason Reeves delivers one of the most stunning child performances in recent memory, while Channing Tatum and Gemma Chan lean into their familiar acting hallmarks but find uncomfortable new layers as a mother and father bound by their own upbringings. The result is visceral, gentle, and ultimately, shattering.

In the Blink of an Eye is a disaster of its own making, living in the shadow of far better sci-fi films of old, and never doing anything interesting with any of the ideas it throws out.

On the heels of several other Dracula-based films in very recent memory, Luc Besson’s take on the story doesn't do enough to set itself apart, despite its fair share of weird comedic moments.