French creature feature Infested delivers the creepy-crawly kicks promised by its title, although its human elements don’t really go anywhere.

Concrete Utopia is a polished disaster drama with a bleak and brutal view of human nature.

Not as memorable as the ’80s and ’90s high-school romps and creepshows it pays tribute to, there's still lots of gory fun to be had with director Zelda Williams’ feature-length debut thanks to Newton's electric lead and the sparks she throws off opposite Cole Sprouse’s game portrayal of a reanimated corpse.

Starve Acre is a rousing addition to the British folk horror tradition with intensely emotional lead performances that takes viewers on a nostalgic journey into pagan ritual.

A self-reflexive love letter to Hollywood stunt work, The Fall Guy is the perfect vehicle for Ryan Gosling’s comedic timing – not to mention, his romantic charm alongside an equally dialed-in Emily Blunt.

While its chaotic new cast serves a clear purpose, Inside Out 2 is more metaphor than meaning. It explains plenty about the confusing emotions associated with puberty, often in intelligent ways, but it rarely lets them be felt or experienced, the way its predecessor did.

If the animation is nothing special, the script is better than what drives most animated movies aimed at a young audience. And you can certainly feel Kaufman’s neurotic touch on the material.

Not a deeply probing Hollywood documentary but filled to the brim with fun behind-the-scenes footage. The Boy Who Lived is a likable, grounded, and heartfelt portrait of a Harry Potter stuntman whose career was cut far too short.

Isaiah Saxon’s adventure fairytale ends up unique and beautiful, much like the adorable animatronic foundling of its title.

It's a frequently fascinating and often moving film despite its many, often glaring, flaws.

Tim Burton allows the cast of Beetlejuice Beetlejuice to have fun, even if they're all off in separate movies that barely overlap. Its story is intentionally robbed of dramatic weight, but this makes way for the goofy, imaginative practical effects of Burton's early days, resulting in a small-scale legacy sequel that doesn't take itself too seriously (because it doesn’t need to).

The Ministry of Ungentlemanly Warfare is a solid Guy Ritchie take on World War II that tells an incredible, sort-of-true story that’s plucky, punchy, and quite entertaining.

There are moments when Longlegs feels like a movie you’ve seen before, but with an evil filter laid over it: This is both a weakness and a strength, as Perkins’ horror surrealism renders the familiar strange, and the strange familiar.

While it sometimes leans too heavily on its ickier aspects, Cuckoo has just enough sense of its own absurdity to remain disgustingly fun.

Spy X Family: CODE White captures the series’ appeal in microcosm, its stylish action, heartfelt found-family dynamic, and incredibly silly comedy all working in entertaining harmony.

A good cast and Collet-Serra’s energetic staging elevate the kind of straight-down-the-middle entertainment Hollywood has mostly, sadly stopped bankrolling. It’s not quite Die Hard, but close enough.

Demon Slayer: Kimetsu no Yaiba - To the Hashira Training is a visual delight which will please the series’ biggest fans.

Sting is a creature feature that tinkers too much with familiar horror/sci-fi concepts but has plenty of heart to make it memorable.

Oddity is an elegantly constructed tale of supernatural revenge that’s full of spine-tingling atmosphere.

All of my issues with the first half of the movie aside, Toy Story 5 manages to pull off an adventurous and resonant conclusion. With a handful of new characters adding some fresh batteries to the mix, and sidelining the right legacy characters at the right time, the fifth installment of Pixar’s main event finds another good way to wrap up. At least until the inevitable Toy Story 6…

A new Wes Anderson movie is always an event, but the writer-director’s latest whirligig comedy, The Phoenician Scheme, might be his slightest in a couple decades.

Justice League: Crisis on Infinite Earths – Part One knows what it is and strives to do right by its source material. There's no depth, no moral murk, no optional profundity for the insight-hungry. Just good, clean, marginally sensical fun.

Idea Man is a lively if shallow journey into the mind of Muppet maestro Jim Henson.

Outside of watching modern Trump characteristics being absorbed from the worst influences around him, it rarely has the insight you’d hope for from a biopic centered on one of the defining political figures of the 21st century.

More unsettling than outright terrifying, The Woman in the Yard is smaller-scale horror that works as a return to fundamentals for a talented filmmaker, and is further proof of Danielle Deadwyler’s immense skill as a lead performer who knows how to pull off the psychological ramp-up required for a movie like this.

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.

Drop is a tightly plotted and unpretentious thrill ride.

Mel Gibson’s Flight Risk manages to entertain despite goofy dialogue and the equally goofy concept of a U.S. Marshal and the prisoner she’s transporting finding themselves onboard a tiny plane with a killer. The character types are familiar and the story is simple, but there’s enough panache to keep it in the air right up until its explosive ending.