You Are Not My Mother effectively mixes folk horror, family drama, and slow-burn scares to deliver an unsettling story elevated by some fantastically nuanced performances.

Hustle may be a conventional sports drama, but it still offers Adam Sandler another dramatic role to shine in.

Cole Sprouse and Lana Condor are a fun duo, capable of feeling human and endearing in the midst of cosmic turmoil. The movie's not a full home run, but it's surprisingly silly and shrewd.

While not necessarily the very best of this genre, it’s a solid character drama benefiting from strong performances by a top-drawer cast.

Renfield makes a mess of its story at times, but does a good enough job getting gorgeously gruesome with its vampire action sequences to win us over with cartoonish gore – and Nicolas Cage's Dracula is one for the ages.

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

Wonka is a celebration of music makers and the dreamers of dreams, a big, old-fashioned movie musical that uses Roald Dahl’s world just judiciously enough to avoid any serious hits to the author or Gene Wilder’s legacy. Timothée Chalamet’s portrayal of Willy Wonka is most successful in its earnestness, and Chalamet brings the character to life with a gleeful abandon that makes him easy to root for, along with an energetic supporting cast who end up carrying the banner of Wonka’s weirdness more than Wonka himself. Charming and well-staged musical numbers give the movie enough of an identity of its own to make it worthy of a taste – just remember to burp and fart if you start floating toward the ceiling at any time during your screening.

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

Violent Night might take a hot minute to find its footing and keeps plucking low-hanging wordplay sugar plums, but at full strength, nobody's stopping Santa from making this year the reddest Christmas imaginable.

More Jackass is never a bad thing, so Jackass Forever follow-up Jackass 4.5 is fun despite being a scattered collection of interviews and deleted scenes. Like its predecessors, it’s bonus content for a Jackass movie delivered at feature length, which makes it catnip for long-time fans.

Spiderhead is loaded with original sci-fi ideas, and while it may not stick the landing, it makes for an intriguing experience.

God’s Creatures explores generational family gender dynamics in an extremely slow-burn way, but it has plenty of rewards for patient viewers.

Based on the scrappy Japanese zombie comedy One Cut of the Dead, Michel Hazanavicius’ Final Cut is a more polished version — for better and for worse — but it’s just as fun and self-reflexive, while also leaning into its remake status for a few added laughs.

The movie’s only real sin is some dull lyrics for rough songs. Amy Adams’ return as Giselle is a charming one, and families will have plenty of fun sitting down to watch this sequel together.

Rough greenscreen work can’t keep the Sanderson Sisters down in a fun enough follow-up to a Halloween classic.

The Last Voyage of the Demeter should delight horror fans raised on Boris Karloff and Bela Lugosi, and offers an R-rated bite of vampiric brutality for genre fans with a stronger bloodlust. Øvredal does well to transport his cast to a time when scary stories were told around lanterns in the dead of night, and even if the moodiness evaporates due to a protracted runtime and the foregone conclusion of Dracula’s landfall, the director accentuates the basics of violent feeding sessions in hair-raising fashion.

Less neurotic than Woody and more fun than the average Sandra Bullock flick, it's a guy flick disguised as a chick flick.

M3GAN capably proves herself more than a horror villain meme, although the film does sometimes struggle to balance the horror and comedy.

Actors Tom Blyth and Rachel Zegler are brilliant additions to the franchise with equally magnetic takes on their very different characters, but aren’t given enough time to fully flesh them out.

Strange World may fumble its environmentalist themes, but its story of fathers and sons is fairly touching.

It’s not as delicious as its practically perfect predecessors, but Paddington in Peru preserves the series’ sweet-natured fun.

Shady lunatics are stuck in a lavish woodsy manor where they’re encouraged to explore their repressed issues to their most destructive ends — and that’s not even all of the devious entertainment available. It’s got storytelling hiccups along the way as Meir favors the absurdity of singular moments over and over, but that’s also part of its sharp-toothed charm. Come curious, leave bloody. That’s the path to enjoyment.

Smile is a disorienting, anxiety-inducing nightmare that leaves you questioning everything you see. The scares feel over-abundant at first, with feints and fake-outs almost laughably frequent, but they eventually create a creeping paranoia that nothing is quite as it seems.

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

The Dragon Ball franchise’s first 3D CG-animated feature film is a fun, low-stakes love letter to Gohan fans with exciting momentum as well as room for some moving sentimentality amidst earth-shattering fights.

Orphan: First Kill doubles down as a prequel about Esther but manages to feel so uniquely standalone thanks to some supreme storytelling swings.

I Came By elevates a pulpy serial killer premise with fun casting and surprising story beats.

Ant-Man and the Wasp: Quantumania has just enough heart, humor, and excellent performances to make up for its more underdeveloped aspects.