It’s a delightful watch for long-time fans that doubles as an entertaining sampler for those curious about this beloved series.

Bad Boys: Ride or Die provides a much more entertaining package than what came before, with thrilling and inventive action direction from Adil & Bilall. Yes, it’s as over the top and silly as ever, but it’s done with more panache and genuine wit than before, proving these Bad Boys, even at their older age, can still deliver.

The setup is forgettable, but Stopmotion builds to a grotesque and darkly beautiful finale that’s a great showcase for stop-motion animator Robert Morgan.

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.

Outside of watching modern Trump characteristics being absorbed from the worst influences around him, it rarely has the insight you’d hope for from a biopic centered on one of the defining political figures of the 21st century.

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.

My Oni Girl is an anime fantasy that makes you wonder why its cool demon hero would waste any time with a boy so exhaustingly dull.

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.

Brad Peyton oversees a futuristic action thriller that frequently plays like a clone of other cautionary tales about AI – but those movies, shows, games, and books don’t have Peyton’s secret weapon: Jennifer Lopez. She’s able to command the screen, bicker with software programs, and sell a convincing heroine’s arc from behind a mech-suit’s windshield.

The first chapter in Kevin Costner's epic western series is a meandering, regressive snooze.

The premise is interesting, some of the scenes are nicely shot, and the acting – especially that of Nikolaj Coster-Waldau and Fanny Bornedal – is believable. Unfortunately, it's also weighed down by predictable twists and lackluster thrills.

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.

Yorgos Lanthimos returns to his days of nasty absurdism, with three vicious, amusing stories about love and obsession. The recurring ensemble, led by Emma Stone and Jesse Plemmons, delivers a showcase of versatility in which they meet the director on his peculiar wavelength, leading to nearly 3 hours of unsettling fun.

It's a frequently fascinating and often moving film despite its many, often glaring, flaws.

Baker cuts straight to the feeling – and because of his fearless filmmaking, this career-best film, in all its crushing and chaotic glory, demands to be felt.

The Garfield Movie applies some nice animation to an annoying all-ages comedy of product placement, phone jokes, and daddy issues.

Megalopolis is so chock-full of ideas that Coppola’s melding of time periods eventually buckles under its own weight in a controlled demolition that initially confounds, but eventually shatters the screen in thrilling fashion. The film ends up not only being a cautionary tale about the end of empires, but one that likens the Hollywood system to empire as well (or a tyrannical extension of it).

The Strangers: Chapter 1 might freak you out if you aren’t old enough to remember The Strangers, but where its predecessor was subtle and interesting, Renny Harlin’s reboot chooses to be ridiculous and boring.

It’s hard to overstate how immaculately crafted Furiosa: A Mad Max Saga is, both as a prequel to Max Max: Fury Road and as a stand-alone story of how the Wasteland created a powerful character.

Though the celebrity cast is giant, none of the colorful creatures they’re voicing are particularly memorable. And Krasinski favors trite platitudes over any real insights into the adventure of growing up; his dialogue will leave you pining for the strategic, well, quiet of his last onscreen family. What IF lacks is what it champions: the magical imagination of childhood.

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.

Tarot seems perpetually uncertain about whether it should play its thinly conceived premise for laughs, or actually pursue real scares. It winds up with neither, stumbling around in the dark and turning its small ensemble into a crude means of timekeeping for its surprisingly sluggish 90-minute runtime.

French creature feature Infested delivers the creepy-crawly kicks promised by its title, although its human elements don’t really go anywhere.

Overstuffed and wearisome, pulpy action comedy Boy Kills World proves that there can be too much of a good thing.

This futuristic sci-fi thriller has some good moments of ambiguous tension, but it’s too scaled back to make much of an impact.

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.

Despite revolving around a group of heroes battling to save existence from total annihilation, the film struggles to build meaningful stakes and establish a sense of dramatic weight. The lack of narrative focus around a single, main protagonist also severely hinders the film.

Justice League: Crisis on Infinite Earths – Part One knows what it is and strives to do right by its source material. There's no depth, no moral murk, no optional profundity for the insight-hungry. Just good, clean, marginally sensical fun.