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.

Sydney Sweeney blazes trails and pulls no punches in a choppy biopic that falters at the finish.

Train Dreams is a gentle but poignant pastoral Western chronicling a life lived over many years. Joel Edgerton and Felicity Jones are excellent, Adolpho Veloso’s cinematography is gorgeous, and Clint Bentley’s direction is far more careful and considered than you might expect for a filmmaker with so few features under their belt.

Dan Trachtenberg is heading in an interesting direction with this franchise and he gets bonus points for that. The Predator as a mysterious murder monster is getting some of his backstory filled in, and that’s not necessarily a bad thing. Badlands, in shifting the perspective to a Yautja main character, actually highlights what’s been great about this franchise in its better moments. Dek and Thia are an unexpectedly fun pairing that bring a new energy to the franchise and an altogether different kind of hunt. It might not be pulling the skull and spine out of us and screaming in bloody victory, but it gets close.

Springsteen: Deliver Me From Nowhere is small in scope and lacks stakes-heavy drama as far as showbiz biopics go, but as a character study of an artist trying to find his true self before the world of celebrity engulfs them, Scott Cooper’s film and Jeremy Allen White’s awards-worthy performance do The Boss justice.

Chainsaw Man – The Movie: Reze Arc has some issues and it sacrifices some of the first season's experimental approach, but it compensates with a compelling romance and one of the best soundtracks of the year.

Roofman’s excellent performances are hampered by a middling script that’s executed with minimal visual flair or excitement.

A House of Dynamite has the acting and directing goods, but its weak resolve arrives late in the game.

The Astronaut has a game lead in Kate Mara and the decent stagings of a monster mystery, but it winds up being a humdrum offering in a genre usually teeming with imagination and innovation.

Good Fortune is a witty, warm, celestial comedy of errors that splendidly blends the wry world of the Frat Pack with the dopiness of Bill & Ted. It's got great performances -- including a devilishly angelic one from Keanu Reeves -- and offers a fresh, funny look at modern hardships.

Guillermo del Toro’s Frankenstein is a crowning achievement for the beloved genre director and one of the most effective adaptations of the Mary Shelley story ever put to film.

Tron: Ares somehow forgets where it came from and relentlessly revisits the original, only making the latest version of the Grid paler by comparison.

If the film doesn’t add up to the sum of its parts, it’s important to note that most of those parts are still pretty great.

Sisu: Road to Revenge offers a ludicrous and punishing take on the same fantastic action-forward indulgence as the original, resulting in a sublime outcome. Writer-director Jalmari Helander's brand of excitement is loud, resilient, and pushes breakneck intensity to the maximum.

At its best, Good Luck, Have Fun, Don't Die is a laugh-filled yet incredibly dark and poignant fever dream that pleads for a safer AI tomorrow. Verbinski's command over utter chaos is nothing short of marvelous, even if the pacing slows while jumping between storylines that eventually all fit together.

Swiped is constructed well-enough for the movie it’s trying to be, but its lack of ambition and nuance keep it from being its best self. It can still be a worthwhile enough watch for Lily James’ admirable performance as Whitney Wolfe, but the movie never affords its subject the same level of depth as what James tries to imbue her with.

The Strangers – Chapter 2 makes a couple of minor improvements on the first film, but it’s ultimately just as slapdash as its predecessor.

Bugonia is a film that tries to balance barbed sci-fi themes and conspiracy looniness funneled through Lanthimos’ trademark quirks, but it slips off the pommel horse on the dismount.

Obsession should and will put Barker on the map as a horror filmmaker you need to watch. Thanks to fantastic turns by Michael Johnston and Inde Navarrette, you'll be addicted to this sour Valentine's Day counterprogramming.

You’ll believe a dog can star in a horror movie with Good Boy, which makes the most of its high-concept approach of centering a haunted house story not on a man but on man’s best friend.

V/H/S/Halloween is an enjoyable assortment of vicious holiday horror shorts that might take a step backward after last year’s fantastic V/H/S/Beyond, but it’s hardly a throwaway sequel.

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.

Justin Tipping’s flimsy football horror movie Him is papered over with colorful lighting but underscored by bland ideas. Despite Marlon Wayans’ bravura performance, it makes very little visceral impact while en route to one of the most confounding third acts of any horror movie this year.

There are so many little details, seemingly inconsequential touches – the filmmaker’s style, if you will – that all add up bit by bit to turn this amazing movie into a masterpiece.

Wake Up Dead Man is a solid third entry for Benoit Blanc, finally delivering the classic-style mystery the series has sorely needed.

Eternity is a bizarre but heartfelt dramedy that balances a wacky vision of the afterlife with strong performances and direction.

While it picks up threads from the original, like the mysterious curse of their dying drummers or stage props misbehaving, nothing gets anywhere close to the original.

Demon Slayer: Kimetsu no Yaiba Infinity Castle offers plenty of action and some emotional flashbacks, but it suffers from an overuse of flashbacks that undermine the story's pacing.