Madame Web has the makings of a interesting superhero psychological thriller, but with a script overcrowded with extraneous characters, basic archetypes, and generic dialogue, it fails the talent and the future of its onscreen Spider-Women.

Not as memorable as the ’80s and ’90s high-school romps and creepshows it pays tribute to, there's still lots of gory fun to be had with director Zelda Williams’ feature-length debut thanks to Newton's electric lead and the sparks she throws off opposite Cole Sprouse’s game portrayal of a reanimated corpse.

A bizarre tale about a family of sasquatch is an emotional masterpiece of experimental cinema and fart jokes.

A Different Man is a twisted, sometimes grueling, frequently darkly funny ride with standout performances from Sebastian Stan and Adam Pearson.

Matthew Vaughn’s latest directorial effort doesn’t traffic in the same edgelord button-pushing as his Kingsman series, but as that relief fades, it becomes clear how much Argylle is recycling ideas and imagery from those (and other, better) movies. Bryce Dallas Howard and Sam Rockwell make an endearing pair, but they’re committed to an occasionally loony adventure that lacks the grace necessary to match its stars.

If the animation is nothing special, the script is better than what drives most animated movies aimed at a young audience. And you can certainly feel Kaufman’s neurotic touch on the material.

Love Lies Bleeding combines intense lesbian sexuality with shocking, graphic violence for a film that really gets the blood pumping. Kristen Stewart embodies her dirtbag character with the jumpy physicality she does so well, and her chemistry with co-star Katy O’Brian is powerful. The film loses focus as it escalates to hysterical heights in its second half, but its pulpy, fetishistic pleasures are potent.

My Old Ass is a sweet, hilarious coming-of-age story anchored by Aubrey Plaza and Maisy Stella’s excellent comedic and emotional chemistry.

Anchored by a rich and resonant performance from Daisy Ridley, Sometimes I Think About Dying deftly explores the debilitating effects of social anxiety and chronic loneliness, and the transformative power of human connection.

As much as its focus is technological, it’s an emotional exploration too – a wry and thoughtful magnification of what life feels like when you lose and re-discover your purpose, or you learn to see yourself through someone else’s eyes.

Captain Marvel directors Anna Boden and Ryan Fleck's (sometimes very) fun anthology/love letter to Oakland, California doesn’t add enough of its own unique spirit to quite live up to its influences.

With a playful camera that rushes through space and embodies a ghostly spirit, Steven Soderbergh’s resourceful haunted house thriller is a midnight genre romp.

Astonishingly beautiful and vulnerable, I Saw the TV Glow's surreal art-horror speaks to lonely teenagers, past and present.

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.

This grim, acclaimed Chilean Western will dazzle your eyes, even as it crushes your spirit with its true story of genocide.

Destroy All Neighbors is a horror-comedy with a fun premise and creative effects but it’s messy in too many ineffective and wrong ways, like listening to a 20-minute jam session that never finds its hook.

Night Swim effectively exploits primal fears around water, but its comedy and horror chops aren’t strong enough to keep it from drowning in its more clichéd elements.

A semi-confusing script and heavy-handed direction from David Ayer muddle the proceedings, but enough inspired pizazz and Statham’s earnest delivery of lines like “I protect the hive” just barely bring it all home.

Mean Girls is a winning, entertaining reworking of Tina Fey’s 2004 comedy. Featuring a collection of strong original songs and a successful updating of the story and messages, it's a musical reimagining worth watching.

Role Play wants to be a star-driven caper merging complicated relationship dynamics with exciting espionage action. But despite a few brief signs of life, both sides of the film are woefully unconvincing, as are its stars. Kaley Cuoco goes way too broad, David Oyelowo looks pained, and the whole thing strains to imitate better movies.

Despite a talented cast and great director, Netflix’s Lift proves to be an exceedingly unremarkable heist film.

The End We Start From is a muddy post-apocalyptic drama that fails to nail the human connection at its core.

Society of the Snow humanizes the gruesome tale of a group of rugby players trapped in the Andes.

When Aquaman and the Lost Kingdom is being an Aquaman story and leaning into the silliness and family aspects of it all, it’s fun. The enjoyable bits are just sandwiched between some ugly effects and a weird first act that feel cobbled together from a very different movie.

While Anyone But You isn’t a bold new take on traditional romcom formulas, it becomes an infectiously sincere and easily watchable movie featuring a charming ensemble cast and great situational comedy.

The Color Purple strands a passionate cast in a passionless movie musical that’s eager to skip to the end.

Migration is satisfactory but uninspiring.

The Zone of Interest is a formally precise yet completely shattering cinematic intervention that emerges as one of the most monumental films ever made.