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.

Thunderbolts* is the most solid the sacred timeline has felt in a little while, providing an adventure befitting its overlooked title characters. While it very capably dabbles in a darker tone – touching on the mental health of heroes and villains alike – the filmmakers struggle to balance that dabbling with a snappy, comedic energy. While the movie as a whole left me feeling like it was a downer on the balance, it’s at least the good kind of downer, filled with characters I’m looking forward to seeing again.

These First Steps might not be the great strides I was hoping for, but they are sure footing for the Fantastic Four to officially leap into the MCU.

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.