Be sure to watch the film all the way through the end credits for a clever post-credit cookie (a rarity for this era).

With scenes of natural disaster grounded in a human point of view, Lee Isaac Chung's spiritual sequel transcends its visual shortcomings, and proves to be a wildly fun and effective summer blockbuster worth watching on the biggest and loudest screen.

Strange World may fumble its environmentalist themes, but its story of fathers and sons is fairly touching.

It's a frequently fascinating and often moving film despite its many, often glaring, flaws.

One of the most original films of the year so far, The Art of Self-Defense is a searing critique of male violence, and the notion of power at large, told through a traditional kung fu flick set in present day America. Dryly funny, the film also carries a wisdom that makes Riley Stearns a talent to watch.

Alice, Darling is a measured, affecting observation of a young woman finally coming to grips with how much an emotionally toxic romantic relationship has viscerally changed her.

Drop is a tightly plotted and unpretentious thrill ride.

The Good Nurse shines a light on the inherent darkness of a for-profit healthcare system while exploring the even darker recesses that allow a serial killer to thrive. Based on a true story, it’s a terrifying examination of systemic failures, not to mention a wild cover-up from self-interested hospitals.

Writer-director Elijah Bynum fills the screen with some impressive imagery, but it’s all in service of an ugliness that Magazine Dreams cops out on depicting.

Transformers One’s strong central friendship – and a great Brian Tyree Henry performance – aside, this animated origin story could have used some major transforming before rolling out.

The Black Phone mixes the supernatural with relatable horrors in ways that will leave you both terrified and hopeful.

With Eddington, Ari Aster tries his hand at political satire and turns in his first bad movie.

Sergio Pablos' Klaus is a beautifully animated mix of old and new - offing up a unique and quirky take on Santa's humble beginnings. It's a fun, fresh story about friendship and the power of kindness that coats snowbound cliches with a shiny sheen.

Scott Cooper directs Hostiles with an eye for quote-unquote “greatness” but the actual material simply isn’t deep enough to justify the solemn presentation. It’s not entertaining, it’s not illuminating, it’s not even complicated. It’s mostly just a bummer.

Ride Your Wave is the sweetest and most conventional story Yuasa has ever directed. Even with its formulaic story occupied by characters who would have benefited with more development and personality, there’s still plenty to enjoy in this light-hearted romance.

While Sharper is visually stylish and is driven by some excellent performances from Sebastian Stan, Julianne Moore, and Brianna Middleton, this con-artist thriller overuses the same plot twists so much that they lose all their impact, and later the initially shrewd characters become too easily bamboozled.

The First Omen is a fiendishly entertaining origin story for both the antichrist and a filmmaker to watch.

If the film doesn’t add up to the sum of its parts, it’s important to note that most of those parts are still pretty great.

Cocoon has its flaws, to be sure, but it's an ambitious, visually stirring piece of sci-fi drama. The performances from the cast (both young and old) are terrific, and visual effects are quite gorgeous.

These First Steps might not be the great strides I was hoping for, but they are sure footing for the Fantastic Four to officially leap into the MCU.

Leo looks like the kind of standard big-studio animation Netflix has been regularly knocking off, but it’s far funnier, and more unexpectedly sweet, than the average kid-targeted cartoon. In fact, Robert Smigel, Adam Sandler, and their collaborators have made one of the funniest movies of the year that doubles as a love letter to the complexities of teaching kids, in or out of the classroom.

In spite of all of its nail-biting close calls and harrowing footage from the actual rescue, it’s actually a lot of fun.

Directed with a threadbare and minimalist style by producer Charles Band, Trancers is the ultimate science fiction cult classic.

Space Sweepers is low-risk, low-reward entertainment. It’s a breezy bit of escapism with some social commentary baked in, but it’s the spectacle and whiz-bang that’s on the front burner. Even as he gleefully reshuffles familiar elements from a variety of sources, director Jo has created a fascinating science fiction tableau that feels both original and inviting.

Alien: Romulus’s back-to-basics approach to blockbuster horror boils everything fans love about the tonally-fluid franchise into one brutal, nerve-wracking experience.

Frozen 2 has amazing animation and great new songs but also a muddied message and some continuity issues.

Mia Goth shines as usual, and Ti West's third slasher entry feels more visually polished than its predecessors, but it's also more dramatically sterile, thanks to a story that quickly falls apart and mounting references that add up to very little (if anything at all).

What should be a high-spirited family film instead feels leaden and overstuffed, more concerned with laying the groundwork for a hypothetical sequel than spinning a quality mystery. The result has the look and feel of a traditional Sherlock story with a feminist spin, but little of the substance.