With a tour de force performance by Glen Powell and a sharp script, Hit Man delivers the kind of intense romance sorely lacking in sexless Hollywood movies. It’s a fascinating character study that, though directed by Richard Linklater, gives off the vibes of a chaotic, dark crime comedy from the Coen brothers. Come for Powell's ascendance to superstardom, stay for one of the funniest and most entertaining movies of the year.

A quick, funny victory lap for anti-establishment Redditors and stonk enthusiasts.

Kenneth Branagh’s third Poirot film is his best and strangest yet.

For all the fun that the cast seems to be having with Dicks, it’s never as creative in execution as it needs to be. There are chuckles to be had, but the overall experience is defined by narrowness rather than naughtiness.

Hayao Miyazaki delivers the perfect coda to his illustrious career with a stunning animated adventure that reminds us how lucky we are to live at a time when Studio Ghibli is making movies.

The Nun II is a marked improvement on its predecessor, as the winning duo of Taissa Farmiga and Jonas Bloquet reward the faith of Conjuring fans with a scarier, meatier boarding school nightmare that makes great use of Valak the Demon Nun, even if the mythology-heavy plot specifics get a little lost along the way.

A passionate, well-intentioned deviation in style, Hamaguchi Ryusuke’s Evil Does Not Exist doesn’t quite hit the mark with its meditations on nature. However, in its best moments, it’s another entrancing dramatic piece from the Japanese maestro, whose strengths lie less in observing natural environments, and more in observing people’s nature.

Harmony Korine’s infrared assassin movie Aggro Dr1ft is a video-game-inspired experiment that’ll have you in a trance.

Sofia Coppola proves to be the perfect choice to tackle the life of Priscilla Presley through a film that deeply understands the desires and dreams of a teenage girl

All Fun and Games is an appetizer of a movie served as the main course, lacking in creativity when it comes to turning childhood games into pure horror.

Poor Things is sex-comedy Frankenstein by way of Jules Verne, and one of the most imaginative comedies in years.

Marrying a tight and effective script from Andrew Kevin Walker, smart performances from Michael Fassbender and Tilda Swinton, and sharp editing, this assassin odyssey is one you’ll want to watch again and again.

Perpetrator wavers between absurdity and gravity when it should just pick a lane, but thanks to a scene-stealing performance from Alicia Silverstone and some good gory gags, it’s a worthy addition to the booming world of unhinged-teen-girl horror.

Hardcore genre fans might appreciate a few of the gorier moments, but they also might agree that a movie called Beaten to Death should not be as drearily maudlin as this.

Leaning away from blood-pumping thrills and towards family drama, Ferrari benefits from another great turn by Adam Driver and a handful of masterfully choreographed race scenes but is ultimately too risk-averse.

The Equalizer 3 ends the trilogy strong with a style, energy, and cohesiveness that most sequels aren’t capable of. Fuqua and Washington’s circle feels complete and delivers a showstopping dessert at the end of a solid three-course meal they’ve been preparing for almost a decade.

Vacation Friends 2 adds a few fresh elements to its too-soon sequelizing, but they can’t change this comedy’s listless, laugh-light trajectory.

Landscape with Invisible Hand is brimming with ideas and storylines, but they never come together as a satisfying whole.

For a movie about a guy trying to save himself and his kids from a car that might blow up at any moment, it's curiously low on thrills and complications.

Netflix’s The Monkey King is an example of a potentially great film that’s undone by poor pacing, uneven animation, and a truly unlikable protagonist.

The film is pure sports-movie hokum, done with just enough conviction (much of it courtesy of David Harbour, who's typically excellent in the stock role of a racing veteran-turned-mentor) to help you ignore how relentlessly Gran Turismo advertises the games themselves.

Part sci-fi satire, part futuristic dramedy, and almost entirely sterile, The Pod Generation seeks to make lofty comments about our world, and the politics of women’s and workers’ autonomy. However, it scarcely has anything to offer beyond the sleek technological designs it tries and fails to critique.

The filmmakers definitely go for it in the gross-out gag department, with jokes about droppings and marking and red rockets. But beneath the vulgar laughs, this is a comedy nearly as formulaic and sentimental as the sappy tearjerkers it's lampooning. Its bark is worse than its bite.

Despite its missteps, Blue Beetle remains a good time at the theater. Amid the action and the comedy, its emotional core resonates with the experience of growing up in a Latine family. The film is comedic without being cheesy and, hopefully, a massive launchpad for Maridueña’s career.

Heart of Stone is so busy trying to start a franchise that it forgets to be a movie good enough to merit a sequel in the first place.

The Last Voyage of the Demeter should delight horror fans raised on Boris Karloff and Bela Lugosi, and offers an R-rated bite of vampiric brutality for genre fans with a stronger bloodlust. Øvredal does well to transport his cast to a time when scary stories were told around lanterns in the dead of night, and even if the moodiness evaporates due to a protracted runtime and the foregone conclusion of Dracula’s landfall, the director accentuates the basics of violent feeding sessions in hair-raising fashion.

Meg 2: The Trench has all the excitement of fishing solo for two hours without a single bite. Wheatley is a shell of himself behind the camera, devoid of personality and originality.

The First Slam Dunk delivers a high-octane thrilling sports anime film with mind-blowing animation that serves as a great conclusion and introduction to a classic '90s anime.