The cast (including Brooks, Anne Brancroft, Christopher Lloyd, Tim Matheson and Oscar-nominee Charles Durning) does their best to keep the laughs flowing.

Peter Pan & Wendy is a beautiful take on the classic children's story, retold for all of us who chose to grow up and continue to struggle with our decision.

Crowe is magnificent as Hando, the leader of the gang whose decisions land them all in hot water and Daniel Pollock (who killed himself during post production) is right there with him. It's a tragic, harrowing little film.

Rise of the Teenage Mutant Turtles: The Movie soundly trumps other Turtles reboots in the humor and heart departments, although its simple plot keeps it just short of amazing.

Real-life tragic romance Spoiler Alert is kneecapped by the plainness of its storytelling, and only marginally saved by its performances.

A young Jennifer Jason Leigh is exceptional, and Judge Reinhold provides a solid central character that nearly everyone in the film relates to.

Demon Slayer: Kimetsu no Yaiba - To the Hashira Training is a visual delight which will please the series’ biggest fans.

While Fear Street Part 2: 1978 still offers some thrills, it's not a cut above its predecessor.

Black Phone 2 is a template for how sequels can reach further and push for standalone appeal, bringing us as close to Freddy Krueger as we'll get until there's another A Nightmare on Elm Street.

The Wretched's endeavor to meld a junior mystery with some pretty extreme horror works more than it doesn't, but ultimately neither side of this narrative coin gets explored as much as it should. Despite this, as a well shot and admirably executed thriller, it's a good entry into the catalogue of on-the-cheap scares.

Vice is a funny and vicious political commentary, revealing in clear, thrilling detail a man whom filmmaker Adam McKay considers one of the most insidious and dangerous political figures of the last fifty years. But that viciousness also makes Vice one-sided, even reductive.

Ocean’s 8 is the most satisfying installment in the franchise. The all-star cast is impeccable, the shift in focus yields sharp insights, and the heist itself is wily and enjoyable. What the film lacks in suspense it makes up for in style, and that style has undeniable substance.

Director Liesl Tommy and co-writer Tracy Scott Wilson provide a shocking backdrop for Franklin’s life, and Hudson balances all this with a skill that’s worthy of a second Oscar nomination. It feels more like a Broadway-ready musical than a biopic, but that doesn’t take away from the impact of the performances.

All told, it's a terrifically entertaining tale filled with humor, heart, and allusions that are sure to delight fantasy fans.

Abominable is a simple, sweet, slight story that’s been told before, and told better.

Riz Ahmed makes for a vigorous lead in Aneil Karia’s contemporary British-Indian Hamlet, which loses its emotional clarity beneath an intriguing exterior. Its use of silence and intimacy grants it a fascinating texture, but the film never challenges or re-invigorates Shakespeare’s greatest work, ensuring that it ends up somewhere in the middle of a lengthy pile of adaptations.

The Front Runner is too afraid to take a side in its central debate, but a strong ensemble cast and interesting ideas about accountability and newsworthiness make this a timely and thought-provoking film.

Nuremberg doesn’t quite stand up with the best films centered on World War II, but it does a respectable job dramatizing the aftermath of the conflict. The film is anchored by a strong cast, led by another great turn by Russell Crowe, and a consistent thematic throughline, but the first act’s use of ill-timed humor doesn’t do the film any favors.

Two Evil Eyes is a flawed project. Romero's segment doesn't pull its own weight. While it is creepy in spots, the majority of the story is overlong and ho-hum in the execution. On the other hand, Argento's entry is strong work that clearly demonstrates a love for Poe's writing. It's not your typical Argento, but many of the standard elements that make the director's work so beautiful and compelling are present here.

Despite its missteps, Blue Beetle remains a good time at the theater. Amid the action and the comedy, its emotional core resonates with the experience of growing up in a Latine family. The film is comedic without being cheesy and, hopefully, a massive launchpad for Maridueña’s career.

Zeros and Ones uses the spy genre as a thin mask for a fever dream that evokes nightmarish uncertainty.

Tetris tries its best to make a story about international video game rights into something infinitely more thrilling, with a smidge better than mixed results.

The film's a fun and humble horror offering set among the world of pretension and status.

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.

Emotions and brutality are at an all-time high in Scream 6, setting it up to be the best sequel in the franchise yet. Though it does ultimately fumble the reason for Sidney Prescott’s absence, RadioSilence has officially proven that there’s a future for the franchise with or without its original final girl by giving us strong connections to the new Core Four.

A super-charged genre throwback that obscures its meaning but has an alluring visual texture, Divinity is completely unique in its conception of sci-fi dystopia, for better and for worse.

The film paints a nostalgic portrait of the fears we all shared as children - the common knowledge that when our parents left the room, the monsters under our beds - or locked inside our closest - started to shift and scratch; that our only friend in the midnight hour was the nightlight in the corner of the room.

The fun and frightful Scary Stories to Tell in The Dark will introduce a new generation to the joy of being scared.