A woeful interpretation of the Brontë classic, the star power of which dims the truly violent nature of this tragic story of love and vengeance.

Iron Lung has terrible pacing and very low energy from the start. The scenarios that Fischbach has put his character in just aren’t compelling enough to watch unfold, with scenes that drag on and on.

Shelter ticks all the action boxes for a Jason Statham film, boasting a charismatic supporting cast to ground the conspiratorial stakes with some thrillingly playful fight sequences to boot. But its lackluster script works against the acting calibre of its stars.

Who wants to go to a deserted island and watch Sam Raimi put Rachel McAdams and Dylan O’Brien through hell? Everybody? Great! Send Help is for you.

A headache-inducing screenlife film that straps Chris Pratt to a chair and holds its audience hostage too, Mercy squanders its potential as a sci-fi thriller about the dangers of entwining justice and artificial intelligence. The result plays less like the tongue-in-cheek mystery-thriller director Timur Bekmambetov seems to be aiming for, and more like an advertisement to tech investors, making the movie chilling in unintended ways.

Return to Silent Hill isn’t the worst entry in this video game movie series, but it fails to accomplish anything that the source material doesn’t do better.

The Rip may stumble at times due to an uneven script and forgettable action scenes, but its interesting premise, talented cast – lead by Matt Damon and Ben Affleck – and twist ending make for a mostly enjoyable experience.

There’s a wit and humor at play in The Bone Temple that elevates, in all the right ways, the dramatic stakes of a zombie apocalypse working on its third decade, especially in Ralph Fiennes’ record collection.

If you buy a ticket for one killer chimpanzee movie this year, Primate delivers the goofy goods. It has fun set pieces, a great-looking animatronic costumed killer chimp, and applause-worthy gore for those of us who like when our horror gets messy.

Migration is a preposterous yet grounded thriller thanks to good performances and centered on a desperate, hopeful plight. Honestly, watch the first movie: It's fun, but you actually don't have to have seen it to enjoy Migration.

An intoxicating historical musical about faith, led by career-best work from Amanda Seyfried.

No Other Choice is another great film from Park Chan-wook, featuring excellent performances and the auteur’s signature directorial acumen.

Kate Hudson and Hugh Jackman’s performances are a treat in Song Sung Blue. They sing and perform their hearts out, but none of it ends up in service to a coherent vision, let alone one that says something meaningful or profound.

Anaconda is a disappointing follow-up for Gormican, who cannot crack the code on Sony's bewildering aquatic not-really-horror reboot. A cast of proven funny people are lost in a thick brush of hacky bits and ineffective storytelling, unable to machete their way through to a redeeming climax. There are brief bursts of creature-feature excitement and belly-tickling humor, but way more stretches of bafflingly unclear ambitions that feel like they're struggling to keep the "movie within a movie" gimmick afloat. It's Anaconda without the aqua-horror chills, throwback practical effects, and midnight-movie entertainment—what an odd choice.

Bollywood gangster saga Dhurandhar walks a fine line between raucous entertainment and hateful propaganda. With more blood and guts than a slaughterhouse, it’s one of the most viciously enthralling films this year, following a fictitious undercover operative influencing real historical events, like Forrest Gump with a Kalashnikov.

Avatar: Fire and Ash isn’t the technical leap forward that its predecessor was, which is to be expected after three years instead of thirteen. But what it lacks in novelty, it more than makes up for with refinement on every level.

Silent Night, Deadly Night is rare reboot that manages to be naughty and nice.

Five Nights at Freddy's 2 gives sequels, video game adaptations, and gateway horror movies a bad name.

Quentin Tarantino’s decades-in-the-making ultimate release of Kill Bill has been worth the wait. Across four hours and change, it retains all the exuberant action highlights that made the duology an instant classic while allowing the saga’s emotional pieces to fall more neatly into place.

Equal parts fun and stressful, Marty Supreme combines the chaotic directing style of Josh Safdie with the charisma of Timothée Chalamet to make a one-of-a-kind ping pong movie that is, without a doubt, one of the year’s best films.

Hamnet is not without a few flaws, but it ultimately comes together as a strong dramatic showing for director Chloé Zhao. Anchored by a fantastic performance from Jessie Buckley, Hamnet simultaneously works as a family drama and as an exploration of how personal experience manifests in artistic expression.

The look of the sequel builds off the vibrant world of the original, and while thematically the movie may bite off more than it can chew, Zootopia 2, like its bunny-cop hero, shares a contagious hope that things can always change.

The film’s themes may be fundamental in their commentaries on parental gender disparity or qualities about motherhood so many refuse to publicly acknowledge, but they still land like a haymaker. You’ve gotta hand it to Ramsay; she’s a fearless visionary when rocking on all cylinders—which, frustratingly, Die My Love only dishes out in smaller servings.

Wicked: For Good brings Jon M. Chu’s movie-musical duology to a climactic conclusion that’s dark in every sense of the word. With harrowing action scenes, heart-wrenching musical numbers, and excessively dimly-lit scenery, this sequel compounds all of the problems of the first movie while introducing some wholly new ones of its own. Dual leads Cynthia Erivo and Ariana Grande are as luminous as ever, electric whenever they’re sharing the screen together, but there’s a lot of movie to slog through to get there.

A gorgeously crafted tale of time travel, Arco fills two sci-fi futures with hope like if Miyazaki had made Interstellar.

A story of a generational actor who realizes the price of the fame monster far too late in life, Jay Kelly is a smart, funny, and emotional ride that deftly interrogates what it means to be a human and an artist in equal measure – and the unfair sacrifices required to be great.

Osgood Perkins’ latest dark trip has a powerful Tatiana Maslany performance and cool aesthetics to thank for keeping Keeper from getting completely lost in the woods.

Rife with great performances and disturbing imagery, The Carpenter’s Son transcends its trappings as a mere horror take on Christ and verges on challenging.