The Mitchells vs. The Machines is a ridiculous, riotous, and relevant adventure fill with great humor and winning sentiment.

The Marvels is a triumph. Its depth can be seen not just through its characters, but through its story as it explores war's complicated fallout; the difficulty of being a human when you are perceived as a monolith; and the hilarious and complicated virtues of family. Both funny and heartfelt, Nia DaCosta’s MCU debut will have you asking when she and her leading ladies are coming back immediately after the credits roll. It’s a pity that the villain isn’t given much to do, though.

Yes, it’s gruesome and violent, but it’s also wickedly funny and surprisingly poignant. And while those Keanu comparisons are always going to be there, Nobody easily holds a candle to Wick.

Spider-Man: Across the Spider-Verse surges with visual inventiveness and vibrance in an undeniably strong evolution of the style established in Into the Spider-Verse. Miles and Gwen’s search for their place in the multiverse is relentless and exciting, almost to a fault, and though the plot is often an afterthought to the pure chaos of creation on display, strong performances and character arcs that feel true to the heroes we met last time help ensure that Across the Spider-Verse is a more-than-worthy follow-up to an all-time classic.

Hamilton the stage musical may be a 10/10. But this filmed version falls short by repeatedly reminding the audience of what we missed by not being there.

Ron’s Gone Wrong is a weird, quirky family comedy that pushes all the right buttons. Unexpectedly poignant, it asks some big questions about growing up in the age of social media.

The Outpost is a cleverly, and respectfully, crafted war film that uses a segmented, episodic approach to help you invest in the characters while building up to a very impressive battle sequence.

There's a throbbing theme at You Should Have Left's core about what it means to be a man. But if subtext isn't your jam, you can kick back, switch off, and enjoy the eerie thrills and jolting scares of this satisfying horror-thriller.

The Rental boats a strong cast, an intriguing set up, and a compelling mystery. It's a fun and feisty web of lies and deception with the added bonus of having a shadowy, stalking presence surrounding everything and everyone like a God-hand. It's a small film, but it's tense, dense, and delivers a harrowing final act.

Robert Rodriguez delivers a family-friendly film that feels like his most personal project yet. We Can Be Heroes is a cheerful and colorful take on the superhero genre with a powerful message about empowering younger generations to take the reins and do better than their parents.

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

Driven by its performances, and smuggling revolutionary politics into “award season” prestige, Judas and the Black Messiah makes for a powerful (if at times dramatically rickety) retelling of a violent chapter of US history.

This contest of wicked wills is a vibrant, penetrating Pandora's Box of predicaments and likeable yet evil central characters, played with satirical skill by Rosamund Pike and Peter Dinklage.

Pretending I'm a Superman will inspire you to get back on your board whether in real life or in the game.

Hayes and Papadimitropoulos' script is meticulous in its capturing of the internal contradictions that make up real people. Stan and Gough fearlessly embrace it all. Together, they give us such an honest and intimate exploration of an adult relationship that Monday feels almost like prying. Yet the most fascinating element of this rich drama is that there is no determination of judgment. No easy blame may be laid.

Freaky is a bloody good time. It’s smart, sharp and funny with some tasty kills and headline casting that is to die for.

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

A timely, powerful piece about the slow road to progress, and the nuances of fighting broken systems from within.

Vampire vs. the Bronx offers enough kid-friendly thrills and laughs to entertain and introduce newcomers to the horror genre, while also offering a socially conscious exploration of gentrification we haven't seen in the genre before.

Jingle Jangle: A Christmas Journey already feels like a timeless treat. Though it's a little longer than it needs to be, Jingle Jangle is still filled with enticing visuals, holiday heart, and seasonal cheer. It instantly feels like a snug, fabled world ready to be explored.

Blue Bayou works as both an emotionally insightful character piece about a man looking for where he belongs, and as a brutal exposé of the lesser-known broken parts of our immigration system.

PG: Psycho Goreman is campy, ridiculous, and low-budget, and it absolutely owns it.

All in all, Finding 'Ohana is a superb entry into the annals of kid-fronted adventure. The familiarity of concept and character welcomes you into the cozy romp of it all but provides surprises and spectacle unique to its Hawaiian environment. There are laughs and thrills aplenty, spiked with a bit of pathos, but not so much to derail the fun.

A great first feature from Cathy Yan, Dead Pigs paints a vivid backdrop of globalization, wealth inequality, and the anxieties of a dual Eastern and Western existence. With these complexities in mind, it forces its idiosyncratic characters into personal and financial battles which often feel unwinnable.

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.

Zack Snyder’s Justice League is a surprise vindication for the director and the fans that believed in his vision. With a mature approach to its superhero drama, better-realized antagonists, and improved action, Snyder’s version of Justice League saves the movie from the dustbin of history.

In the Earth is an oppressive, bizarre trip of sight, sound, and spore-induced psychedelia. Director Ben Wheatley sometimes sacrifices characterization for the loftier ideas about nature he wants to explore but given how innately the audience should understand how one would be affected by a pandemic, it’s a gambit that mostly pays off as the film’s third act roars toward an all-out sensory assault in the climax.

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