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.

Wonder Woman 1984 is a bright and hopeful adventure that pays loving homage to the superhero movies of yesteryear.

Bad Times at the El Royale may overstay its welcome a bit, and it never realizes the potential of its villain, but it’s still an engrossing, well-made crime flick bolstered by several fine performances from its ensemble cast.

While Tilda Swinton and Idris Elba give it their all, neither can save the film from collapsing in the third act. An unconvincing conclusion undermines a far better first half which sees Swinton and Elba waxing philosophical in a hotel room.

Almost 20 years into the franchise, Saw X showcases an emotional depth that manages to take one of these stories higher than ever before. Make no mistake, though, the traps are still on full display and Jigsaw still has full intent to showcase the true evils of humanity.

Den of Thieves 2: Pantera is neither better nor worse than the sleeper-hit crime caper that preceded it. Like the original, it’s too long and threatens to become overwhelmed by its own web of underworld intricacies. Nonetheless, with appealing chemistry between stars Gerard Butler and O'Shea Jackson Jr., and a suitably tense third-act heist sequence, it rewards the goodwill the original has built up since its 2018 release.

34 years after it opened, this remains a creative and charming family film.

The Aeronauts is a film flawed from its first concept. By blending fact and fiction so freely, Thorne and Harper turned a story of scientific discovery into a muddling romantic adventure that crashes and burns.

In depicting both Pagnol and Chomet’s search for authentic truths within their stylized works, it’s a perfect marriage of subject and form.

Under the Silver Lake never finds a reason for being as weird as it is, making for a confusing and frustrating experience despite its hypnotic visuals and great score.

Though it’s too long, and not every action scene or comedy bit works, Dwayne Johnson, Jason Statham, and terrific rising star Vanessa Kirby ensure that there’s fun to be had in a Fast & the Furious movie not centered around cars or racing.

The classic humor of this film still remains.

House of Gucci starts with such promise as Adam Driver, Lady Gaga, and Al Pacino give performances that bring out the emotional complexity of the historically dysfunctional Gucci family. But then Ridley Scott becomes infatuated with tracking the fall of the corporation and its familial machinations instead of zeroing in on the more compelling personal implosion of Patrizia and Maurizio. Too much of the narrative is given over to side characters and scenes that are overindulgent, which lessens the potency of the tragic story and our investment in where they all end up.

A film about so many different things that it ends up about none of them, Aaron Sorkin’s Being the Ricardos is visually inert, and features an emotionally stifled performance from Nicole Kidman as the lively Lucille Ball. Javier Bardem brings energy to Desi Arnaz, but it isn’t enough to pick the disjointed pieces up off the floor.

Mamma Mia! Here We Go Again knows exactly what it is, what its target audience wants, why and how. Changing things up, ticking boxes and tapping toes, it’s charming, entertaining and way better than many may be expecting it to be.

Self Reliance's comedic riff on The Most Dangerous Game benefits from writer-director-star Jake Johnson’s extraordinary ability to commit to a bit – but it's lacking a sense of danger.

Metal Lords is earnest with metal but sloppy with character and story. It delivers a rousing finale but the journey there is uninspired and half-formed.

Killing Ground is a well-made movie that, at times, is just too plain ugly. It may be mild compared to other “torture porn,” but it still won’t sit very well with everyone who watches it.