Chainsaw Man – The Movie: Reze Arc has some issues and it sacrifices some of the first season's experimental approach, but it compensates with a compelling romance and one of the best soundtracks of the year.

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

It’s the least Charli XCX movie yet, with her disappearing into her role so completely that it's often breathtaking to witness, but it's also the one that marks her arrival as an essential voice.

When is a murder mystery not about the murder or the mystery? When it's as beautiful-looking as Gemini.

It may not be the most accurate, well produced, or entirely awe-inspiring film adaptation of the caped crusader, but it is certainly the most amusing.

Director John Krasinski delivers that rare horror sequel that (almost) stands toe-to-toe with its predecessor.

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.

Dan Trachtenberg is heading in an interesting direction with this franchise and he gets bonus points for that. The Predator as a mysterious murder monster is getting some of his backstory filled in, and that’s not necessarily a bad thing. Badlands, in shifting the perspective to a Yautja main character, actually highlights what’s been great about this franchise in its better moments. Dek and Thia are an unexpectedly fun pairing that bring a new energy to the franchise and an altogether different kind of hunt. It might not be pulling the skull and spine out of us and screaming in bloody victory, but it gets close.

How to Train Your Dragon: The Hidden World is a fantastic, visually stunning and poignant way to end this beloved trilogy.

It’s a rare misfire from director Sebastián Lelio, whose approach to his tale of a 19th century English nurse (Florence Pugh) investigating an Irish miracle is far too plain to be mysterious or stirring.

With impressive animation and a faithful script, Watchmen Chapter 1 is clearly a labor of love. But while it avoids some of the pitfalls of prior adaptations, it also reveals a few of its own.

The film manages to look at its characters with empathy and understanding, while simultaneously refusing to endorse their actions. And because of that, Matt Spicer’s directorial debut proves to be one of the more successful takes on the social media generation to hit the silver screen.

Whether you're a theater lover, who aches for playhouses to reopen, a cosplayer who yearns for the return of Comic-Con, or a sci-fi fan who dreams of making an Alien of your own, Alien on Stage is a must-see.

Molly’s Game doesn’t announce Aaron Sorkin as the next great filmmaker, but he’s a good one. It’s a competently filmed production with some fine performances, but it lacks the focus and showpersonship that would be necessary to make it feel like more.

Where Night of the Living Dead was a straight up horror film (with some minor social commentary buried beneath the ever-present threat of the shambling undead), Dawn is something a bit more intriguing. Sure, much of Dawn's first thirty minutes or so has the same unrelenting feel of the earlier film, but once our heroes arrive at their final destination, the tone changes.

Cam is an authentic, unexpected, and thrilling addition to modern horror canon.... It's a unique experiment, one that works incredibly well and benefits greatly from Mazzei's voice and Goldhaber's thoughtful direction.

Whether Piranha was made as an intentionally cheesy spoof of Jaws or a cynical bargain-basement imitation, the fact remains that it's just bad enough to qualify as good. As long as you don't take it too seriously (after all, the filmmakers clearly didn't).

Blitz's piercing sound design can't make up for its bloodless depiction of World War II, its scattered sense of place, and its saccharine approach to overcoming racial hostility. Saoirse Ronan is captivating in the role of a single white mother to a defiant Black son trying to make his way back home, but the movie can't seem to balance her talents with its own timeline.

Shazam! is a lot of fun and it further proves how, in the wake of the success of Wonder Woman and Aquaman, DC’s movie future is indeed bright. Zachary Levi was born to play this superpowered man-child, delivering lots of laughs alongside sarcastic but amiable co-star Jack Dylan Grazer.

Drew Hancock’s Companion is a funny and clever thriller, carefully balancing dark moments of violence and unsetting reveals with a disarming sense of humor.

Ford v Ferrari's James Mangold takes his hands off the steering wheel for A Complete Unknown, resulting in a Bob Dylan biopic that takes unpredictable turns. Rather than connecting the dots between how the world influenced him (and how he influenced it in turn), the film frames his enormous musical sea changes as personal drama for his peers. It’s formally straightforward, but its focus on the characters in Dylan’s life – rather than the musician himself, played by Timothée Chalamet – turn him into an enigma, for better or worse.

Rock 'n' Roll High School is like a ride on a music rollercoaster. For some, the ride will be a dizzying one they'll never want to endure again. But for others – mostly cult/punk enthusiasts – this is going to be one ride worth experiencing over and over again.

From excellent team-ups between Deku and Bakugo to strategic standoffs featuring some of the more minor characters like Ashido and Tokoyami, the entirety of Class 1-A gets to shine in this new movie.

An affectionate take on a much-romanticized subculture, The Bikeriders purrs along rather than zips, but its stellar cast ensures a smooth ride as Jeff Nichols offers some insights into the highs and lows of a legendary motorcycle gang.

Sisu keeps it simple as a smaller-focus WWII epic that loves killing Nazis as much as we love watching them die in over-the-top ways.

Many smaller details also hit home, and though it certainly is exaggerated all over the place, the film is dead on and plays even better now than in '92.

Ultimately, A Shot in the Dark is not superior to The Pink Panther, as many have suggested, but a somewhat predictably derivative sequel that maintains its predecessor's form but not substance.

Dev Patel’s diehard sincerity clashes with unwieldy religious imagery in an India-set revenge saga whose tepid action scenes fail to make up for its muddled politics.