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.

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.

It lacks guidance or any real momentum. When Bill Murray isn't on screen, the air is sucked out of the picture, leaving audiences anxiously waiting for his next scene.

If you like weird, boundary-pushing, and unexpected movies that divide audiences you'll probably love The Perfection.

The Many Saints of Newark is a solid and fan-friendly prequel to the classic HBO series, even if it does try to add too much to the Sopranos Universe.

The latest addition to the Scream franchise expertly blends reverence for the source material while creating something that feels almost completely new. All of the performances are pitch-perfect as the new generation of Woodsboro teens step into their futures, the kills are gnarly, and no version of toxic fandom is left unmocked.

Strong performances and attractive visuals keep Lightyear afloat, but the story isn’t the quality you’d expect from Pixar.

Overlord may not be the Call of Duty: Zombies movie you were expecting, but it is a damn entertaining film about the horror of war, and the thrills of a zombie invasion.

Goat isn’t doing anything new story-wise, but it’s a fun and engaging underdog (or undergoat?) sports comedy that shines thanks to its wonderful production design and animation.

Good Boys somehow manages to balance its risqué, scatological impulses with a surprisingly sweet, resonant coming-of-age tale.

The period setting is sumptuous, and Edward Norton brings true humanity to the role of Lionel Essrog.

Crawl is a fun albeit familiar human vs. beast movie, one that gets plenty of mileage out of its setting and people’s deep-set fear of being eaten.

The main trio within Sierra Burgess Is a Loser - Shannon Purser, Kristine Froseth, and Noah Centineo - are great, but the movie loses itself when it turns away from its more unconventional and grounded elements and leans into the unnecessary '80s dry rub.

New Gods: Yang Jiang is worth watching for its novel animated action sequences, but its muddled story lacks the punch of its predecessor, New Gods: Nezha Reborn.

A formulaic and depressing motion picture that takes meaningful characters and strips them of their reason to exist.