Tim Miller’s film deftly builds upon what worked in the first two James Cameron-helmed entities while bringing in a new host of characters and circumstances to challenge the course of humankind. While there’s definitely some frantic leap-frogging involved in terms of accepting why some characters have evolved the way they did, Terminator: Dark Fate ultimately succeeds in serving as both a suitable closing chapter for the original two films and a possible gateway to exciting new chapters ahead.

Sam Mendes assembles a creative dream-team for Empire of Light, but ends up with one of the most soulless prestige pictures in years.

A boring, weightless revenge experiment that quickly goes awry, Silent Night features none of the charm or visual panache that made John Woo one of Hong Kong and Hollywood’s foremost action stylists.

In the end this is arguably Jarmusch's first popcorn movie and it's a pretty good one at that.

A Wrinkle in Time is ambitious, hopeful, and imaginative, but it’s also messy, overwrought, and oddly paced.

Conan the Destroyer is not an awful follow-up, just a mostly unnecessary one.

A semi-confusing script and heavy-handed direction from David Ayer muddle the proceedings, but enough inspired pizazz and Statham’s earnest delivery of lines like “I protect the hive” just barely bring it all home.

Thanks to slick screenwriting, stylish art direction, and a sparkling lead performance from Blake Lively, It Ends with Us tackles difficult subject matter with maturity, tenderness, and just a dash of whimsy.

Wrinkles the Clown is a documentary that frequently entertains, but lacks true insight into the viral phenomenon.

You know exactly what brand of “weird” to expect from Nicolas Cage and Sion Sono, but what you might not expect is how much the film feels like a death dream about movies.

Swallowed is an LGBTQ+ thriller that trades complexity for intimacy over a drug run gone horribly wrong. It's intense and thrilling at the right moments, capitalizing on authentic body horrors.

Alita: Battle Angel is Robert Rodriguez’s best film in many years. It’s an ambitious, impressive, visually spectacular production with great performances that make its strange world seem real.

A deeply misguided act of worship, it starts out as a hilariously bizarre showreel of strange visual effects, before devolving into a distant, disconnected retelling of the highlights of Dion’s life.

With a tone consistent with the original trilogy, a straightforward premise that creates space for fresh faces without disrespecting the main character, and a well-paced mix of comedy, action, and silky smooth synth riffs, Beverly Hills Cop: Axel F is a highly watchable return to form for Eddie Murphy.

Once Upon a Deadpool is a cute idea that doesn't live up to its potential, leaving audiences with little more than a less interesting version of a better movie they might have loved.

There's Something Wrong With The Children is an energetic but expected kiddies-gone-killer tale that wades into some murky waters.

Despite a stellar performance from Willem Dafoe as a contemplative art thief, Inside lacks the smarts and visual panache to make good use of its single location.

For as much love, passion, and nostalgia is evident in this movie, it’s also a film very palpably made from a place driven by fear of disappointing the audience, and that anxiety fuels a lot of the story’s curious creative choices and unwieldy execution.

Project Wolf Hunting goes for broke in terms of exquisite beatdown violence in the pursuit of primal genre happiness. Writer/director Kim Hong-seon executes like there’s a going-out-of-business sale on fake blood, and we reap the benefits as showstopping displays of action-horror devastation take center stage.

The scares are ridiculous, the plot makes no sense, and you’ll probably spend the whole running time wishing someone would spill a drink on their keyboard and erase the movie's hard drive.

Annabelle Comes Home offers more humor in addition to the supernatural terror the Conjuring franchise is known for.

Taken for what it is, Logan's Run delivers a fun ride and a glimpse at another era, even if it's probably not the time frame the producers had in mind.

Destroy All Neighbors is a horror-comedy with a fun premise and creative effects but it’s messy in too many ineffective and wrong ways, like listening to a 20-minute jam session that never finds its hook.

Trolls Band Together hits its chosen notes with its trademark glitter-drunk energy and some bonkers visual invention, but its mashing up of shiny pop hits (not to mention past Trolls movies) approaches exhaustion.

While Smith does fine work, how reliant this Genie is on Smith’s personality does make you wonder if an actor pushing farther out of their comfort zone would have gotten us closer to the boundless creativity that made Robin Williams’ performance so memorable.

Killing Gunther is an astonishingly unfunny film considering the level of sheer comedic talent involved in it. Its lack of energy or character development keeps the film from ever finding its groove.

The dystopian fantasy elements of the saga are now at their thinnest, painting a cinematic world that may hit too close to home for some. Ultimately, it's a solid entry that can either act as an ending or a new beginning.

There’s plenty to giggle at throughout, and even a few moments that might just give you goosebumps. Those qualities alone, despite the film’s flaws, make Ma an almost endlessly entertaining watch.