LEGO Star Wars Summer Vacation wraps up the trilogy of sequel character specials with an emotional conclusion and some very funny summer riffs on beloved characters.

Terrifier 2 rips, tears, hacks, shreds, butchers, disembowels, decapitates, devours, pulverizes, tenderizes, slices, dices, skewers — I'm missing plenty — and knock-em-out-dead eviscerates the current competition when it comes to low-budget slasher effects.

The Nun II is a marked improvement on its predecessor, as the winning duo of Taissa Farmiga and Jonas Bloquet reward the faith of Conjuring fans with a scarier, meatier boarding school nightmare that makes great use of Valak the Demon Nun, even if the mythology-heavy plot specifics get a little lost along the way.

GoldenEra charts the rise of GoldenEye 007 in a documentary that should thrill those still holding onto their love of one of the N64’s most iconic titles.

Tilda Swinton serves up an emotionally invigorating double turn in Joanna Hogg’s moving biographical relationship drama, laced with heart and wit through an atmospheric, Gothic lens.

The best Disney live-action remake in a decade (not that that’s a particularly high bar to clear), Snow White adapts the broad strokes of the 1937 original, while fleshing out its themes of kindness. Rachel Zegler crafts a remarkable, melodic version of the classic princess who leads with her heart, even if her CGI co-stars are difficult on the eyes.

V/H/S/99 understands the ‘90s assignment and crafts low-budget chaos that delivers a unified anthology slathered in guts, heavy on nostalgia, and with a punk-as-hell attitude.

Spirit Halloween dodges the bargain bin by opening its doors to a proficient gateway horror tale that plays like Goosebumps Lite in a seasonal decoration store.

Deadpool & Wolverine is an outrageous, consistently funny superhero comedy that succeeds largely thanks to the contagious enthusiasm of leads Ryan Reynolds and Hugh Jackman, and a surprisingly classy perspective on superhero movie history. Wade and Logan’s profanity-laced adventure forces the MCU farther out of its comfort zone than it’s been in years, even though old and increasingly frustrating issues like forgettable villains and a barely there plot show that breaking the fourth wall isn’t always enough to solve a movie’s foundational problems.

Cartoon Saloon's latest animated film may disappoint those waiting for a new movie with the level of brilliance of Wolfwalkers or The Breadwinner, but My Father's Dragon still entertains with its tale of friendship aided by two great performances.

Blood Relatives is a warts-and-all brand of vampire indie that gets by with a bit of help from tremendous actor chemistry.

A Wounded Fawn is an artfully chaotic descent into bloodlust, monstrous misogyny, and euphoric comeuppances of the most punishing pleasures.

Before Infinity Pool loses its way toward the end, it proves to be an enticing work of depravity that explores money and privilege through horrifying, violent excess.

Dash will leave viewers behind based on the virtue of its obscure construction, yet should excite those seeking alternative character studies based on gig culture, second lives, and the unfaithful depths humans will plummet before telling a simple truth.

Its few hints of flair may not cement it as a genre classic, but they’re enough to make it momentarily fun.

80 for Brady is a surprisingly sweet and sentimental comedy led by four stellar performances — especially by Lily Tomlin, who’s never been more radiant.

It’s a good movie too chronically polite to achieve anything like greatness.

Eileen is a nifty little shapeshifter of a thriller made of tremendous parts, just lacking a bit of steam upon exit.

The Boogeyman is a capable creepshow built for mass appeal that gets the job done because at the end of the day, scary is as scary does.

Air is an underdog crowd-pleaser with a standout ensemble cast sharpened to a point. As both director and co-star, Ben Affleck finds a balance between comedy and explanation that remains accessible to all audiences.

Despite its limited scope and predictable plot, The Magician’s Elephant succeeds at being a quaint animated film with a positive message.

Leo looks like the kind of standard big-studio animation Netflix has been regularly knocking off, but it’s far funnier, and more unexpectedly sweet, than the average kid-targeted cartoon. In fact, Robert Smigel, Adam Sandler, and their collaborators have made one of the funniest movies of the year that doubles as a love letter to the complexities of teaching kids, in or out of the classroom.

Marrying a tight and effective script from Andrew Kevin Walker, smart performances from Michael Fassbender and Tilda Swinton, and sharp editing, this assassin odyssey is one you’ll want to watch again and again.

With a steely reserve and killer instinct, Extraction 2 thrives as a buffet of brutality that plays back the mercenary thriller hits with a fresh coat of camouflage paint.

In its portrait of a perennially prickly novelist (Thomas Schubert), it gets at tough and sometimes funny truths about the nature of writers.

Perpetrator wavers between absurdity and gravity when it should just pick a lane, but thanks to a scene-stealing performance from Alicia Silverstone and some good gory gags, it’s a worthy addition to the booming world of unhinged-teen-girl horror.

Flamin' Hot is a charming and funny rags-to-riches story with a strong cast, some clever editing, and good use of narration as comedy that make up for its superficial depth.

As a historical epic, Napoleon is handsome but a little impersonal – you can really feel the absence of texture lost in getting it down under three hours. But between the textbook bullet points, a very funny anti-Great Man biopic peeks through, thanks largely to Joaquin Phoenix’s performance as a Bonaparte who’s more boy than man.