Blue Bayou works as both an emotionally insightful character piece about a man looking for where he belongs, and as a brutal exposé of the lesser-known broken parts of our immigration system.

Hayes and Papadimitropoulos' script is meticulous in its capturing of the internal contradictions that make up real people. Stan and Gough fearlessly embrace it all. Together, they give us such an honest and intimate exploration of an adult relationship that Monday feels almost like prying. Yet the most fascinating element of this rich drama is that there is no determination of judgment. No easy blame may be laid.

Indiana Jones and the Dial of Destiny fails to recapture Spielberg’s magic. With uninspired action and conflicting themes and character motivations, it’s proof that some things should just be allowed to end.

Wicked: For Good brings Jon M. Chu’s movie-musical duology to a climactic conclusion that’s dark in every sense of the word. With harrowing action scenes, heart-wrenching musical numbers, and excessively dimly-lit scenery, this sequel compounds all of the problems of the first movie while introducing some wholly new ones of its own. Dual leads Cynthia Erivo and Ariana Grande are as luminous as ever, electric whenever they’re sharing the screen together, but there’s a lot of movie to slog through to get there.

Visually, Pixar is in absolutely top form with the creation of Element City and its inhabitants. Unfortunately, the story is way too thin and none of it makes any sense.

As a genre picture, and as a nugget of pure unadulterated cult entertainment, Death Race 2000 is one of the best around.

Amazon’s Heads of State is a near-humorless buddy comedy film, saved by its compelling leads and elaborate action sequences.

Even when The Gorge disappears into generic run-and-shoot action, it benefits from the colorful confidence of Derrickson’s staging and a ’50s-inflected sci-fi score from Trent Reznor and Atticus Ross. At its worst, this solid genre exercise still looks worthy of the theatrical release Apple didn’t grant it.

While some purists may balk at the changes and omissions made here, those simply looking for a horror movie as compelling as it is wicked should enjoy this new Pet Sematary.

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.

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

For all the fun that the cast seems to be having with Dicks, it’s never as creative in execution as it needs to be. There are chuckles to be had, but the overall experience is defined by narrowness rather than naughtiness.

Antlers is a satisfying, unsettling, and rather bleak horror movie when it focuses on its main creature. It’s also a thought-provoking character drama when it deals with parental neglect, but the two never properly mix, keeping it from being as great as it could’ve been.

If you can look past Road House’s horrendous cinematography, CGI fights, and poor lighting, there's a fun movie to be found.

And on this particular trek, the 70's duo find themselves in comedic situations which hit and miss in relatively equal measure.

Encounter is a tense, and stylish thriller with some excellent performances, but it’s dragged down by a lack of focus and pointless tangents.

While it does some fascinating things with the zombie genre that we haven't seen since George A. Romero, Army of the Dead ends up bogged down by its own self-importance and forgets how fun it's supposed to be. Its promising opening credits sequence is so much better than the rest of the film.

Arcadian is an effective creature-feature B-movie that gets the job done in under 90 minutes.

Successfully walking the line between sharp comedy and thoughtful dramedy, Instant Family delivers, warming the heart and generating plenty of belly laughs. When it’s funny, as it often is, it’s damn funny. One of the superior comedies of the year, it’s not a classic, but it’s rich, smart and emotionally satisfying and an accomplished step forward for director Sean Anders.

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.

The level of risk-taking is refreshing, even when it's not completely successful at every single turn.

Thor: Love and Thunder is held back by a cookie-cutter plot and a mishandling of supporting characters, but succeeds as the MCU's first romantic comedy thanks to Chris Hemsworth and Natalie Portman's chemistry.

The movie has a much more open feel than Argento's other films and offers an interesting counter point to his work. The film also exercises Argento's effects work. There are several great scenes where a swarm of flies comes to Jennifer's rescue.

Cold Pursuit is partly a great action thriller, and Liam Neeson is still kicking plenty of butt, but the film is mostly an intriguing, relaxing, totally tuckered-out character study of old men running out of the energy required to run a criminal enterprise. As thrillers go, this one is more adult than your average.

An exciting and scary final act makes up for a middling kid horror fantasy that is marked by a slow start and an inappropriately comedic tone.

Towards the end of the ride you are ready to get off... but if ride films are your thing, you'll be surprised at how much you enjoy this, even if you don't remember much about it afterwards.

With a blistering score and a darkly comic undercurrent, Tornado is a timeless revenge thriller filled with hurt and heart.

The Munsters is a wholesome labor of love that’s probably for the most diehard sitcom fans because for better and worse, Rob Zombie makes the Munsters reboot he wants to see.