Crime 101 has everything a heist thriller ought to have… but not much else.

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

Part guerrilla prank saga, part heartwarming friendship story, and part riff on Back to the Future, the result is an incredibly fine-tuned mishmash of styles and ideas that keeps evolving in surprising ways.

It's a melting pot of experiences from comical to romantic to thrilling to richly ruminative. Everything flows together gracefully in step through a delicate and beautiful dance that speaks to the ever-changing beast that is New York City.

Mason Reeves delivers one of the most stunning child performances in recent memory, while Channing Tatum and Gemma Chan lean into their familiar acting hallmarks but find uncomfortable new layers as a mother and father bound by their own upbringings. The result is visceral, gentle, and ultimately, shattering.

In the Blink of an Eye is a disaster of its own making, living in the shadow of far better sci-fi films of old, and never doing anything interesting with any of the ideas it throws out.

On the heels of several other Dracula-based films in very recent memory, Luc Besson’s take on the story doesn't do enough to set itself apart, despite its fair share of weird comedic moments.

The Strangers - Chapter 3 is the weakest entry in a flat and tedious trilogy.

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.

A woeful interpretation of the Brontë classic, the star power of which dims the truly violent nature of this tragic story of love and vengeance.

Iron Lung has terrible pacing and very low energy from the start. The scenarios that Fischbach has put his character in just aren’t compelling enough to watch unfold, with scenes that drag on and on.

Shelter ticks all the action boxes for a Jason Statham film, boasting a charismatic supporting cast to ground the conspiratorial stakes with some thrillingly playful fight sequences to boot. But its lackluster script works against the acting calibre of its stars.

Who wants to go to a deserted island and watch Sam Raimi put Rachel McAdams and Dylan O’Brien through hell? Everybody? Great! Send Help is for you.

A headache-inducing screenlife film that straps Chris Pratt to a chair and holds its audience hostage too, Mercy squanders its potential as a sci-fi thriller about the dangers of entwining justice and artificial intelligence. The result plays less like the tongue-in-cheek mystery-thriller director Timur Bekmambetov seems to be aiming for, and more like an advertisement to tech investors, making the movie chilling in unintended ways.

Return to Silent Hill isn’t the worst entry in this video game movie series, but it fails to accomplish anything that the source material doesn’t do better.

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.

There’s a wit and humor at play in The Bone Temple that elevates, in all the right ways, the dramatic stakes of a zombie apocalypse working on its third decade, especially in Ralph Fiennes’ record collection.

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.

An intoxicating historical musical about faith, led by career-best work from Amanda Seyfried.

No Other Choice is another great film from Park Chan-wook, featuring excellent performances and the auteur’s signature directorial acumen.

Kate Hudson and Hugh Jackman’s performances are a treat in Song Sung Blue. They sing and perform their hearts out, but none of it ends up in service to a coherent vision, let alone one that says something meaningful or profound.

Anaconda is a disappointing follow-up for Gormican, who cannot crack the code on Sony's bewildering aquatic not-really-horror reboot. A cast of proven funny people are lost in a thick brush of hacky bits and ineffective storytelling, unable to machete their way through to a redeeming climax. There are brief bursts of creature-feature excitement and belly-tickling humor, but way more stretches of bafflingly unclear ambitions that feel like they're struggling to keep the "movie within a movie" gimmick afloat. It's Anaconda without the aqua-horror chills, throwback practical effects, and midnight-movie entertainment—what an odd choice.

Bollywood gangster saga Dhurandhar walks a fine line between raucous entertainment and hateful propaganda. With more blood and guts than a slaughterhouse, it’s one of the most viciously enthralling films this year, following a fictitious undercover operative influencing real historical events, like Forrest Gump with a Kalashnikov.

Avatar: Fire and Ash isn’t the technical leap forward that its predecessor was, which is to be expected after three years instead of thirteen. But what it lacks in novelty, it more than makes up for with refinement on every level.

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

Five Nights at Freddy's 2 gives sequels, video game adaptations, and gateway horror movies a bad name.

Quentin Tarantino’s decades-in-the-making ultimate release of Kill Bill has been worth the wait. Across four hours and change, it retains all the exuberant action highlights that made the duology an instant classic while allowing the saga’s emotional pieces to fall more neatly into place.