Adrian Chiarella’s Leviticus is an involving, meaningful, and legitimately creepy horror movie. Chiarella’s story about gay youth being punished for simply being the way they are is emotional and thoughtful while also simply working well as a horror story, blending the real-life prejudices that inspired it with the supernatural curse laid upon its characters in a highly effective manner.

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…

The Furious dares any other actioner this year to be as battered, berserk, and certifiably badass.

The brooding pace and relative silence that characterize writer-director Michael Sarnoski’s The Death of Robin Hood is more evocative of his standout debut film Pig than it is his far more mainstream A Quiet Place: Day One, making this elegiac but brutal period piece his most niche and least accessible film yet. Still, its heady mix of mournful drama and murderous action certainly distinguish it from the litany of other Robin Hood films in existence.

Even if I don’t agree with the answers Disclosure Day provides to its more interesting questions, it’s a movie I’m still thinking about long after I left the theater.

Do you like Scary Movie!?… Well, there’s a new one and it’s got some funny stuff in it, but just not enough in terms of how many jokes land and how many are duds.

The story of a small-town girl falling for a career criminal and going on a cross-country crime spree with him is one we’ve certainly seen before, but Carolina Caroline provides its own spin on the subject that makes it well worth checking out.

While Nicholas Galitzine and Idris Elba provide the thematic structure to the film, Jared Leto’s Skeletor gives a delightfully weird and cartoonish energy to every scene he’s in. It’s a film that appreciates the source material, silly names and all, and proves the best way to add to a 50-year-old franchise that’s about toys as much as anything else is to not take it too seriously.

Kane Parsons blends superb visuals and excellent characterization with the lore of the Backrooms to create a terrifying and thrilling big-screen debut for the liminal horror classic.

Pressure is quality dad content. War movie fans and WWII buffs should appreciate the film’s devotion to detail, while mainstream audiences will be treated to a taut, compelling story about the very real men behind the icons who ensured an Allied victory. Brendan Fraser makes Eisenhower flesh and blood, while Andrew Scott adds another whipsmart protagonist to his filmography with his nuanced portrayal of meteorologist James Stagg.

I Love Boosters, Boots Riley’s candy-colored indictment of capitalism, is as sharp as it is deranged. Living somewhere along the spectrum of magical realism, the entire film is a brilliant balancing act of comedy and call-to-action that sprinkles a little philosophy in-between.

This is a Star Wars movie missing the thrills, the surprises, the challenges, the addition of really anything of note to the franchise, not to mention a vested interest in seeing its characters grow and change. This is not the way.

It’s a nonstop blast with the kind of low-to-the-ground vehicular and horseback action that’ll have you falling off the front of your seat.

Filled with never-ending voice over and exposition, utterly vapid and personality-free characters, and dull action beats, In the Grey is a low point for director Guy Ritchie, who’s proven in the past he’s capable of delivering much more entertaining films.

Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma is a joyous blast of a film about sex, desire, and death with a killer yet vulnerable performance by Hannah Einbinder.

Mobile Suit Gundam Hathaway: The Sorcery of Nymph Circe delivers an emotionally satisfying movie… as long as you do the required homework for it.

It might not be Oscar-caliber cinema, and hardcore fans of the game with encyclopedic knowledge of the game may have a bone to pick, but it’s big and loud and gruesome and not afraid to have fun. The bar for video game movie sequels isn’t very high, but this one not only clears the bar, it twirls it around like a bo staff.

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

The Sheep Detectives is a very sweet, and often quite moving, family comedy about grief and death. I know that sounds weird, but director Kyle Balda and screenwriter Craig Mazin are mostly successful at threading that needle, with the broad humor of some of the human characters being the film’s weakest aspect. The sheep characters Lily and Sebastian have compelling arcs that highlight the movie’s themes of acceptance and growth. As dark as the story can sometimes get, there’s still enough warmth and wit to make The Sheep Detectives appropriate for younger audiences.

Baltasar Kormákur delivers a compelling survival thriller with both Charlize Theron and Taron Egerton throwing themselves into their adversarial roles. Theron crafts a relatable and grounded performance bolstered with emotional sensitivity and physical prowess, while Taron Egerton proves his worth as a weirdly menacing antagonist. Immersively conceived and nerve-rackingly realized, Apex is a visually-commanding action film bursting with impressively dynamic stunt sequences.

Michael, or Bohemian Jacksody, is a film of listlessness and inhumanity that can’t help but suck the energy out of the room. No matter where you come down on Jackson as a person, this film is entirely the opposite of what he was, both as an iconic performer and a controversial tabloid figure. Who would have thought that such a carefully controlled, estate-permitted biopic might actually do more damage to an artist’s legacy by making him so uninteresting?

Riz Ahmed makes for a vigorous lead in Aneil Karia’s contemporary British-Indian Hamlet, which loses its emotional clarity beneath an intriguing exterior. Its use of silence and intimacy grants it a fascinating texture, but the film never challenges or re-invigorates Shakespeare’s greatest work, ensuring that it ends up somewhere in the middle of a lengthy pile of adaptations.

Ian McKellen and Michaela Coel deliver two brilliant, diametrically opposed performances in Steven Soderbergh’s gentle art world caper.

It’s the least Charli XCX movie yet, with her disappearing into her role so completely that it's often breathtaking to witness, but it's also the one that marks her arrival as an essential voice.

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

David Lowery’s latest is a visually fascinating chamber piece with great performances from Anne Hathaway and Michaela Coel.

There are some funny lines peppered throughout, but more often than not, it feels like the easiest and most simplistic version of this story rather than going for something either truly darkly subversive or hitting the emotional heights it’s going for.

Though mostly played straight, Faces of Death has a wicked sense of humor that’s used in a commendable manner. It’s not overplayed, but always lurking under the surface, and it provides some of that aforementioned twisted fun.