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.

Rebellious game developer Midway's rise and fall gets a surprisingly tame retelling in the doc Insert Coin.

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

Wrath of Man has plenty of anger and action, and it's at its intriguing best when the entire story gets sorted out and all the players are on the board, but it stumbles at being a time-release mystery.

While not exactly transcending the familiarity of its very predictable genre, The Ritual is a spooky, shadowy horror film with good character work, an excellent mood, some provocative themes, excellent lighting, and a scary... thing... that horror fans will love.

The movie leaps to life whenever the bullets start flying. It's the generic gangland stuff in between that's not up to snuff, even with Hardy lending his trusty gruffness to the haunted-cop boilerplate.

It’s beautifully shot, and very loud. But much of the film is simply too mild and reliant on jump scares, and Syndey Sweeney’s performance doesn’t achieve the hysterical heights a movie like this needs until it’s too late.

Bad acting, awful script, glaring continuuity errors-- it's night! It's day! It's night again!-- nightmarish special effects, and the worst sets you've ever seen. It's a chucklefest all the way through.

Extraction works because its simple, yet sufficient, story allows the film's action to take center stage. If the stunt work were mediocre, the entire thing would be an utter waste of time. Thankfully though, Extraction boasts an exhaustingly awesome showcase of expertly choreographed fists, knives, guns, and explosions.

Barry Jenkins’ Mufasa is a strong, uncomplicated effort that should charm kids. The Moonlight directors involvement in a CGI-heavey Disney prequel caused serious film lovers to wring their hands, but the results speak for themselves: This is simply a lovely movie.

Minions: The Rise of Gru is more Minion compilation than Gru prequel. It wastes its fun ideas and comedic setups in favor of disconnected slapstick gags, which may delight the diaper-wearing crowd, but will end up a chore to anyone forced to comprehend its inert dramatic scenes and ’70s pop culture references.

Liam Neeson is back with The Commuter, though viewers may wind up wishing they bought a ticket to a different train.

Those looking for a straight Hamlet adaptation or an action-oriented animé should look elsewhere; those looking for a fantastical, visually glorious story that reflects on the potential and pitfalls of humanity are in for a good time.

Despite all the cinematic thievery and homage, The Funhouse manages to stand on its own as an eerie, slow-brewing slasher that builds quite a bit of effective tension and dread leading into the more generic final act.

Bubble is an effervescent piece of heartfelt sci-fi that’s as refreshing as its cast and concepts.

Migration is satisfactory but uninspiring.

Better jokes, better imagery, and two (!) inspired comic performances by Jim Carrey give this Sonic sequel an edge on its predecessors.

Despite its ferocious source material and lead Amy Adams, Nightbitch is a bloodless tale of maternal doldrums with little payoff.