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.

In what could be the one of the best opening movie scenes I've ever seen, for example, Kermit, Fozzie and Gonzo hover next to the opening credits in a hot air balloon, wondering how soon they will finish.

Boasting some of the most creative action scenes and finely-calibrated comedy in the Marvel universe so far, Ant-Man and The Wasp doesn’t reinvent the wheel, but it certainly knows how to make the ride even more fun.

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

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.

I Love Boosters, Boots Riley’s candy-colored indictment of capitalism, is as sharp as it is deranged. Living somewhere along the spectrum of magical realism, the entire film is a brilliant balancing act of comedy and call-to-action that sprinkles a little philosophy in-between.

If there is one thing that I've learned from Stephen Spielberg, and George Lucas it's that the easiest way to win an audience is to employ an antagonist that everyone hates, like the Nazis, or Stormtroopers. Producers Richard Donner and Joel Silver take a lesson in the first sequel to Lethal Weapon and pit Gibson and Glover against fascist dimplomatically-immune South Africans.

This movie exhibits a craft that belies Morita's inexperience as a director. He hasn't made a poetic film in the manner of his Ghibli mentors, but it's actually more polished in some ways than much of their work, especially in terms of movement.

Beavis and Butt-Head Do the Universe brings the boys back for an intergalactic comedy with plenty of their trademark crude laughs.

Weird: The Al Yankovic Story does for the music biopic what the real Weird Al did for many a hit pop song: it makes fun of it, reveres it, remixes it, makes it weirder, and improves it.

This belated sequel lacks the wit and charm of its predecessor, resulting in a po-faced action flick that has "straight-to-DVD" written all over it.

A decently made but unsurprising thriller.

Frank LaLoggia's 1988 film scared the living hell out of yours truly with its singular combination of hometown horrors and operatic tragedy.

Hellbender, a coming-of-age movie from a family that’s built their own indie horror house, is a captivating, smart, and delightfully witchy tale.

The story opens the door to a fascinating mythology of ancient warriors and immortality, although things get a little clunky when it comes time to explain how it all works. Still, The Old Guard is well worth watching if you’ve got an itch for something new.

The Ugly Stepsister’s torture-porn take on a classic fairy tale is told from a teenager’s point of view, but the grotesque elements are appropriate for gorehounds of all ages.

Color Out of Space is a delightful surprise. The film’s success is best viewed through the lens of Nicolas Cage’s increasingly deranged performance, which always entertains as it heightens, but never at the expense of servicing the story and elucidating just how dangerous the Color is.

From a distance, Materialists seems like a straightforward love-triangle rom com, but Celine Song transforms it into a meaningful, introspective drama about self-worth.

An effective debut feature from director Riley Keough, War Pony is a rare breed – a native story told by an outsider seeking to uplift the community rather than exploit it.

A new Wes Anderson movie is always an event, but the writer-director’s latest whirligig comedy, The Phoenician Scheme, might be his slightest in a couple decades.

Hook's Dante Basco and his brothers deliver an outrageous comedy about love & family in The Fabulous Filipino Brothers.

God’s Creatures explores generational family gender dynamics in an extremely slow-burn way, but it has plenty of rewards for patient viewers.

Rocketman is an unforgettable, emotional experience that raises the bar for biopics.