Carlito's Way, like Casualties of War and Mission: Impossible, seems to stand at a nexus between commercial fealty and directorial idiosyncrasy; it's a sort of half-breed film that exudes personal vision but functions satisfactorily for the multiplex crowds at the same time.

Alas, The Edge is a film that, quite ironically, loses it.

Design and artistry here is the primary draw of The Dark Crystal, not necessarily the writing or the performances or the direction (Henson and Frank Oz shared the directing responsibilities for this one), although the are no glaring missteps in any of those areas.

White Noise holds up a mirror to contemporary America, forcing a self-examination that both amuses and terrifies. It may be set in the ‘80s but it’s as prescient as ever, forcing us to examine the failings of postmodern culture and face the comedy and terror inherent in our society. It may be funny, even light-hearted in places, but White Noise confronts heavy, poignant topics with a level of awareness that will make you laugh while your skin crawls.

Roofman’s excellent performances are hampered by a middling script that’s executed with minimal visual flair or excitement.

Chip ‘n Dale: Rescue Rangers isn't the first movie to do what it's doing -- with live-action and animation sharing the screen, helping nurture a meta-comedy adventure -- but it's damn fun and one of the cleverest uses of elder pop culture properties in a while.

While playing with the trope he made famous, Wes Craven crafted a lighter, more self-reflective tone for Kevin Williamson’s script to shine a light on everything we love (and everything we think is kind of silly) about slasher movies.

Swan Song is a beautifully acted near-future exploration of self, technology, and the soul.

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

With a layered performance by Regina Hall as the university’s first Black dean of students, the film plays with familiar tropes and images from American horror, but re-fashions them into an unexpected, subdued story with a chilling emotional payoff.

Jonah Hill's impressive directorial debut Mid90s is full of heart, fun and a sense of longing to belong somewhere.

In Thirteen Lives, Ron Howard sheds the spectacle of the 2018 Thai soccer team cave rescue by recreating the impossible logistics, choices, and dangers with intimacy and chilling claustrophobia.

Harriet has the best intentions, but despite a powerful lead performance by Cynthia Erivo, the film feels bereft of originality. It’s a shame that a film centering a woman whose life was filled with fear, risk, and compassion couldn’t summon those same elements for its story.

Kingdom of the Planet of the Apes It’s not as emotionally complex as Dawn of the Planet of the Apes or War for the Planet of the Apes, and isn’t attempting to punch you in the gut like those films do. But as this series enters its post-Caesar, Disney-owned era, Planet of the Apes is still on remarkably solid footing.

Elio boasts dazzling animation – and even more striking emotional depth.

A muddled mix of '90s teen flicks, curated for a new generation (with a Hitchcock premise swirled in), Do Revenge is a lukewarm high school vengeance tale that never settles on a tone and is barren when it comes to laughs.

It’s morally upstanding but dramatically dull, without any of the allure or excitement that made Armstrong’s Succession series such a smashing success.

Despite the character’s trademark flippancy, there’s a real unexpected warmth to Deadpool 2. Not only does the sequel explore this flawed character, it firmly establishes him as a loveable and effective hero.

The Way Back is a somber sports drama more interested in exploring the plight of its hero than in just the big games.

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.

Luckily, with a dash of mischief, a dollop of whimsy, and, yes, a hearty spoonful of sugar, Mary Poppins Returns manages to feel less like a cynical cash-grab and more like a visit from an old friend — even if the reality of her reappearance doesn’t quite live up to your fuzzy memories of the good ol’ days.

Starve Acre is a rousing addition to the British folk horror tradition with intensely emotional lead performances that takes viewers on a nostalgic journey into pagan ritual.

Despite a passionate performance from Colby Minifie and some compelling visuals, The Surrender sidelines its deft exploration of grief for drawn-out, pointless supernatural horror.

Vivo's animated musical sequences are gorgeous to look at and fun to listen to, even if the plot loses the rhythm about halfway through.

What it lacks in so-bad-it’s-good silliness it makes up for with its heart and mostly practical slaughterfests. Kevin Bacon and Peter Dinklage having an absolute blast in their roles doesn’t hurt, either.

Last Night in Soho’s biggest strengths and weaknesses come from the same place: its attempts to replicate much better psychological horror from decades past. However, despite everything that doesn’t work, its musical energy keeps it fun.

It’s not as delicious as its practically perfect predecessors, but Paddington in Peru preserves the series’ sweet-natured fun.

The End We Start From is a muddy post-apocalyptic drama that fails to nail the human connection at its core.