Windfall is a tight, smartly constructed thriller that succeeds on the strength of its performances.

Umma isn’t scary, but the themes behind it are terrifying as it deals with generational trauma and guilt. Though the cultural references run deep, it’s overstuffed with symbolic imagery that is never fully explained. Though Oh and Stewart give solid performances, the tone and tension of the story ends up being choppy and underwhelming.

Deep Water aspires to be a boundary-pushing erotic thriller but is stuck treading water in the kiddie pool.

While its gnarly payoffs eventually peter out, X is filled with fun and intense setups that harken back to classic slasher fare.

Linoleum is a heartfelt story about making every day seem like something fantastic.

It walks a tightrope with its topics, but Williams is delicate and confident with every step — his performers following close behind, dominating the screen.

Marcel the Shell With Shoes On suffers from an aimless plot that feels stretched too thin, but it provides one of the most endearing and adorable animated characters since Paddington Bear. It delivers enough heart, laughs, and innocence to forgive its shortcomings.

Richard Linklater’s animated Apollo fantasy is scattered, but sweet.

Everything Everywhere All at Once is a complex film that encompasses a variety of subjects, but it does justice to each of them with a carefully written script, marvelous performances, and a healthy dose of bizarre humor to counter its bleak story. Michelle Yeoh in particular gives a powerhouse performance in a story that puts a fresh, welcome spin on the idea of the multiverse.

Jujutsu Kaisen 0 manages to work as both a standalone introduction to the anime and also a satisfying prequel to those familiar with this world. With stunning animation, complex and memorable characters, and a healthy dose of horror imagery, this is one of the best shonen anime films in a while.

Fresh delivers a full-course meal with dazzling cinematography, disturbing imagery, and one of the best horror performances of the past few years. Sebastian Stan joins the pantheon of horror psychopaths as this delightfully gory movie explores the world of modern dating.

The Adam Project is a thoughtful, witty mash-up of all the movies from my childhood. It’s Back to the Future meets The Last Starfighter with a slew of wonderful performances from a cast that clearly loves the concept as much as I do. Ryan Reynolds is on top form as Adam, while Walker Scobell matches him punch for punch with a great debut performance.

A story of magical transformation as a metaphor for personal and cultural change, Turning Red (from Bao director Domee Shi) is Pixar’s funniest and most imaginative film in years. It captures the wild energy of adolescence, uses pop stars as a timeless window into puberty, and tells a tale of friendship and family in the most delightfully kid-friendly way.

A work of shattering empathy, Drive My Car makes you stare long and hard at people’s withholding exteriors as it carefully chips away at them, revealing how they patiently bear their burdens, working without rest.

Matt Reeves’ violent, thrilling, darkly beautiful take on The Batman more than justifies its place in the franchise’s canon.

The Duke sets up a hilarious social satire under the guise of a comedy crime caper, with buckets of British humor.

Studio 666 features fun performances by the Foo Fighters, but its “kitchen sink” approach leaves it open to unfavorable comparisons to the movies to which it pays homage.

Texas Chainsaw Massacre is a sloppy and gratuitous killing spree with standout deaths but a poorly written story that ruins the experience.

This should be effective in introducing the world of Uncharted to people who are meeting Nate and friends for the first time, although the changes it makes can be inexplicable and jarring to those of us who’ve spent many games with these characters.

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

With a simple but effective script and some fun visual experiments, it's an entertaining conspiracy thriller set in (and very much about) the post-pandemic world.

It takes Death on the Nile far longer than it should to reach its most impactful moments, but actor-director Kenneth Branagh cares deeply enough about Detective Poirot to make it work.

Moonfall makes its big ideas feel small and unimportant.

The fourth (and hopefully final, for the sake of its cast) Jackass is a nostalgic laugh riot.

A film with sights and sounds you’ve never seen or heard, it’s an intriguing watch with catchy, energetic numbers, even if it doesn’t always land emotionally.

It may not always succeed, but it arrives with an energy worthy of the TV comedy legends.

Led by moving performances from Julianne Moore and Finn Wolfhard, the film takes a roundabout approach to its drama, resulting in a realistic portrait of a relationship in stasis.

Writer-director Riley Stearns transforms depression and disappointment into a hilarious confrontation of death and a peculiar tale of self-image in an uncanny film with a precisely bizarre lead performance.