Does The Man Who Killed Don Quixote live up to the anticipation built by a nearly 30 year-long wait? Probably not. Is it still a film worth seeing, with something to say about following your dreams and being a filmmaker, with meta commentary about its own production? It’s hard not to say yes, if only to witness a man’s decades-long obsession finally bear fruit.

Cry Macho has spare moments of charm and tranquility, but mostly it's a dry and unfinished story that fails to hit even the most basic of Story 101 beats.

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

My Best Friend’s Exorcism is gateway horror that puts storytelling above terror. It’s steady on its 1980s teenage-girl friendship drama, but other elements around the messaging stumble.

It's amusing and enjoyable at the same time, in a wholesome Pleasantville kind of way.

Olivia Colman is a diamond in the rough, but even she can’t rescue a movie this flat and uninteresting.

Jumanji: The Next Level is a blast. Instead of relying solely on its proven premise, we get to know more about the kids and the adults playing the game. There are still moments of silliness, but there is also a whole lot of heart here.

This sequel doesn’t merit a sing-along and does little to expand on what we already knew about Moana and her friends.

Mean Girls is a winning, entertaining reworking of Tina Fey’s 2004 comedy. Featuring a collection of strong original songs and a successful updating of the story and messages, it's a musical reimagining worth watching.

If Licence to Kill added more than just scenes with Q to lighten the load, if it provided a love interest as compelling as Vesper and more engaging than Lowell's whiny Pam Bouvier, this Bond could have been one of the instant greats, instead of one that is better appreciated with age. The movie is not perfect, but a lot of what works now in the series got its start in Dalton's last mission as James Bond.

The Equalizer 3 ends the trilogy strong with a style, energy, and cohesiveness that most sequels aren’t capable of. Fuqua and Washington’s circle feels complete and delivers a showstopping dessert at the end of a solid three-course meal they’ve been preparing for almost a decade.

Riddle of Fire is a charming, fantastical debut just begging for a cult audience to ride its uniquely silly wavelength. It’s familiar, and yet like nothing else you’ve seen.

It’s a stylish and amusing thriller, but a hollow one, with mostly broad-stroke characters populating an otherwise ultra-detailed fictional criminal underworld. Fans of crime movies like John Wick will be entertained by the big ideas and backstories, but they probably won’t form the kind of connection they have to other, better films of its ilk.

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.