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.

Hulu’s Crush is a queer coming-of-age movie in which very little happens, and whose characters barely exist outside of their joking lines of dialogue. Its young actors are a delight, but even as a story of teenage crushes, it rarely captures what it feels like to be young and in love.

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.

Rough greenscreen work can’t keep the Sanderson Sisters down in a fun enough follow-up to a Halloween classic.

DC League of Super-Pets may have thoughtful filmmaking on its side, but what it doesn’t have is a voice cast that can lend life and personality to its characters.

Ethan Coen goes solo – sort of – with Drive-Away Dolls, a raunchy, dizzy road-trip comedy that’s a little too slick for its own good.

An entertaining, if a bit predictable, romantic comedy with a good cast. Expect anything more from it and you'll come away disappointed.

A wonderful slice of pulp alien-invasion sci-fi with a dash of conspiracy thriller tossed in for good measure. It plays as a clever X-Files knockoff and as a funny camp classic all at the same time. Low budget sci-fi pictures like these are rarely this entertaining, or good for that matter.

Satanic Hispanics attempts to bring authentic Latin folklore to modern horror audiences and boasts great doses of monsters and gore. Unfortunately it’s also held back by some uneven storytelling and humor that doesn’t always land.

After a while, rather than just being funny (in a dark way), it's questionable why one should sit through the whole thing.

One of the most forward looking science fiction tales of the 70's.

The Croods: A New Age is a mightily medium follow-up to the 2013 original. The voice cast is great and the jokes are the perfect type of clever, where both kids and adults can get a good laugh. The story and emotional stakes are a touch thinner this time but that's to be expected, for the most part, from this type of animated sequel.

An underwhelming lead-up to the series finale, Fast X's only real redeeming quality is Jason Momoa's bonkers performance as the villain.

It’s a very well put-together film, and more so than not, it’s full of charming performances, clever little details and some less-outlandish-than-I’d-like social commentary. Even though Edgar Wright’s stamp isn’t clearly on every sequence like some of his previous work, The Running Man sprints where it needs to, giving Glen Powell his first chance to be a full-fledged action hero.