The Bad Guys 2 provides more of what made its predecessor great, but doesn’t improve enough on its predictable plot.

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.

Grafted makes a patchwork of its ideas but manages to be an entertaining, mindful, gore-saturated charge through social hell.

It has a wacky premise involving a woman swapping places with a chair, but the uncompromising consumerist satire By Design is more performance art than camp classic.

The Ugly Stepsister’s torture-porn take on a classic fairy tale is told from a teenager’s point of view, but the grotesque elements are appropriate for gorehounds of all ages.

Although this psychological thriller can be uncomfortable to watch at times, the performances – combined with the disturbing puppet imagery – bring a lot of life and imagination to a story about a petty dictator and an unlikely rebel.

Another Simple Favor takes its tongue-in-cheek momcore satire to new visual heights by moving the action to coastal Italy. All the best parts of the original are also present here, including Lively and Kendrick’s sparkling chemistry and killer costume design. Not every attempt to expand on the concept is successful, but as a piece of escapist entertainment it’s more clever than most.

There’s plenty to flinch (or even gag) at when directors Danny and Michael Philippou spill some blood , and Sally Hawkins and young Jonah Wren Phillips commit to the intensity of their roles, but the decidedly unanswered questions posed by the plot contribute to some dissatisfaction

As is expected from a sequel to a surprise action-comedy hit, Bob Odenkirk’s second round of ass-kicking gets a bit more goofy than the first film, in the process losing some of the charm of the original’s more grounded look at an assassin now living as a suburbanite. But Odenkirk’s commitment to the role and director Timo Tjahjanto’s flourishes make this an entertaining sequel that proves that there is a lot of joy to still be found in watching a legendary comedian turn into a one-man army when he’s pushed too far.

You’ll believe a dog can star in a horror movie with Good Boy, which makes the most of its high-concept approach of centering a haunted house story not on a man but on man’s best friend.

With more jokes than you can possibly catch in a single viewing, The Naked Gun proudly brings cinematic groaners and outrageous sight gags into the 2020s.

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.

If the film doesn’t add up to the sum of its parts, it’s important to note that most of those parts are still pretty great.

A story of a generational actor who realizes the price of the fame monster far too late in life, Jay Kelly is a smart, funny, and emotional ride that deftly interrogates what it means to be a human and an artist in equal measure – and the unfair sacrifices required to be great.

Springsteen: Deliver Me From Nowhere is small in scope and lacks stakes-heavy drama as far as showbiz biopics go, but as a character study of an artist trying to find his true self before the world of celebrity engulfs them, Scott Cooper’s film and Jeremy Allen White’s awards-worthy performance do The Boss justice.

The Devil Wear Prada 2 plays the hits. It’s a glossy, charming, and razor-sharp follow-up to the beloved 2006 original.

Wake Up Dead Man is a solid third entry for Benoit Blanc, finally delivering the classic-style mystery the series has sorely needed.

Chainsaw Man – The Movie: Reze Arc has some issues and it sacrifices some of the first season's experimental approach, but it compensates with a compelling romance and one of the best soundtracks of the year.

It’s not a home run, but it’s an enjoyably goofy and gory time.

Nuremberg doesn’t quite stand up with the best films centered on World War II, but it does a respectable job dramatizing the aftermath of the conflict. The film is anchored by a strong cast, led by another great turn by Russell Crowe, and a consistent thematic throughline, but the first act’s use of ill-timed humor doesn’t do the film any favors.

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

The Rip may stumble at times due to an uneven script and forgettable action scenes, but its interesting premise, talented cast – lead by Matt Damon and Ben Affleck – and twist ending make for a mostly enjoyable experience.

Bob Odenkirk’s presence helps create a sense of gravitas even when the film is straightforward, adding soulful dimensions to a fairly simple character in whose hands guns and explosives are as much tools of violence as they are instruments of a righteousness long lost to moral compromise.

If you buy a ticket for one killer chimpanzee movie this year, Primate delivers the goofy goods. It has fun set pieces, a great-looking animatronic costumed killer chimp, and applause-worthy gore for those of us who like when our horror gets messy.

Migration is a preposterous yet grounded thriller thanks to good performances and centered on a desperate, hopeful plight. Honestly, watch the first movie: It's fun, but you actually don't have to have seen it to enjoy Migration.

Silent Night, Deadly Night is rare reboot that manages to be naughty and nice.

Peaky Blinders: The Immortal Man offers a no-frills wartime backdrop for Cillian Murphy to make a stirring return as Tommy Shelby, with Barry Keoghan standing toe-to-toe with his Irish compadre in a moving match-up. Serving up some dry humor with a few boisterous action set pieces and a thumping contemporary score to boot, director Tom Harper and writer Steven Knight don't color outside the box, which should please fans of the series.

As ugly as it is amusing, Lee Cronin’s The Mummy takes the kind of tonal swings you rarely see from a Hollywood studio.