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.

Sicario: Day of the Soldado is a darkly thrilling film with excellent performances, and its gritty, intense action is balanced by heady themes of moral decay, but overall, because of recent political developments, it feels behind the times.

Aside from a few pacing issues, Saltburn delivers an uncompromising vision from Emerald Fennell, an Oscar-winning writer director with a unique voice. It not only capitalizes on the kudos she received for Promising Young Woman, but cements Barry Keoghan’s leading man status.

André and company give a familiar premise fresh verve with an onslaught of outrageous pranks that would do Jackass proud. André and Howrey share crackling chemistry that weaves together the friendship at the film’s core, while heralded scene-stealer Haddish embodies a badass who can make us cackle. Remarkably, the unwitting witnesses to their mayhem are not regarded just as marks, but as co-stars, who pop with one-liners, memorable reactions, and shining humanity.

Kingsman: The Secret Service is a spy movie made by James Bond devotees who know the genre so well that they can have a good time with it while also paying it respect -- and taking it to someplace new entirely.

Part sci-fi satire, part futuristic dramedy, and almost entirely sterile, The Pod Generation seeks to make lofty comments about our world, and the politics of women’s and workers’ autonomy. However, it scarcely has anything to offer beyond the sleek technological designs it tries and fails to critique.

Birds of Prey is a madcap joyride that puts Harley in the driver's seat, but sometimes leaves her cohorts in the dust.

It has no soul or style, and creates no sense of chemistry between lead actors Omar Sy and Nathalie Emmanuel. They try their best to fill the movie's dead air with charm and anguish. Unfortunately, their best isn't enough.

With a cast that takes wildly different approaches to characters we already know from film and TV, and a camera that never slows down, Saturday Night is chaotic in wildly enjoyable ways. The lead-up to the historic premiere of SNL plays like an extended 90-minute climax.

No One Will Save You is at its best when it marries the tension of a home invasion thriller with the thrills of an alien abduction film, and Kaitlyn Dever proves she has the chops to carry a whole movie on strength of her facial expressions alone. However, the film ultimately fumbles when it becomes both a convoluted action film and an on-the-nose parable about overcoming grief and guilt.

The Lost City is a decent action-comedy that coasts on the presence of its stars.

The film is absolutely beautiful, with some of the most gorgeous sets and images ever committed to celluloid. The three main actors are just incredible - the first two hours are carried almost solely on Rex Harrison's charisma and screen presence. Later, Burton perfectly portrays a deeply flawed man who will do whatever is necessary for love. Elizabeth Taylor anchors the entire film.

Doctor Strange in the Multiverse of Madness is a Sam Raimi movie from top to bottom, for better and worse.

Freakier Friday clumsily juggles way more plotlines than the original, but the movie shines bright when it focuses on the original duo.

The brooding pace and relative silence that characterize writer-director Michael Sarnoski’s The Death of Robin Hood is more evocative of his standout debut film Pig than it is his far more mainstream A Quiet Place: Day One, making this elegiac but brutal period piece his most niche and least accessible film yet. Still, its heady mix of mournful drama and murderous action certainly distinguish it from the litany of other Robin Hood films in existence.

Tom George succeeds in telling an excitably ambiguous case within a self-deprecating whodunit satire, even when employing the easiest tricks in the manual.

Filled with nudity, violence and loads of B-movie fun, Big Bad Mama strikes the perfect balance between exploitative raunchiness, and great low-key action and excitement.

The premise may be intriguing, but the repetitive approach and nearly identical lead characters renders the Ocean's duo without their signature chemistry and strands them in a distractingly underpopulated criminal underworld.

The whole is less than the sum of its parts, but those parts just about make the grade.