There's an endearing, homestyle warmth to the kooky sci-fi dramedy. Think Joe Swanberg's "Mumblecore" roots by way of Charles Band's late-night horror schlockiness – and I mean that with love.

Starve Acre is a rousing addition to the British folk horror tradition with intensely emotional lead performances that takes viewers on a nostalgic journey into pagan ritual.

The setup of the mystery is more satisfying than its payoff, and the film breaks down into an uninspired grab bag of contemporary horror influences.

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.

Oddity is an elegantly constructed tale of supernatural revenge that’s full of spine-tingling atmosphere.

Crisis on Infinite Earths Part Three closes out DC's Tomorrowverse in big, messy, and forgettable fashion, so much so that it's tough to be enthused about whatever comes next.

With scenes of natural disaster grounded in a human point of view, Lee Isaac Chung's spiritual sequel transcends its visual shortcomings, and proves to be a wildly fun and effective summer blockbuster worth watching on the biggest and loudest screen.

My Spy: The Eternal City is tailor-made for an awkward family movie night: too violent and suggestive for elementary schoolers, too dumb for teenagers, and too confusingly joke-free for adults expecting a comedy.

Sing Sing gathers a collection of heartfelt, nuanced performances in an unmissable drama about the life-altering effects of a real-life rehabilitation-through-theater program at the titular prison.

The subplot involving the production of a simulated, backup lunar expedition never quite takes off, comedically speaking, but there’s plenty of appeal in pairing an uncommonly bubbly Scarlett Johansson with an agreeably earnest Channing Tatum.

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.

The Day the Earth Blew Up: A Looney Tunes Movie is a looney good time, and a grand return to the big screen for the classic characters.

Visually lush and emotionally affecting, Janet Planet marks playwright Annie Baker’s bold transition to the big screen.

Blue Lock: Episode Nagi improves upon the first season's story by retelling the it from a fresh perspective – adding new dimensions to a fan favorite character in the process.

Less of a movie and more of a series of non sequiturs, Despicable Me 4 is a Minions showcase interrupted by Gru and his family.

Despite a starry cast and endearing performance from Joey King, A Family Affair is as messy as the conflicting professional and personal relationships it depicts. A convoluted and superficial script and yawning direction fail to deliver character stakes worth getting behind.

It’s nice to see June Squibb land a starring role for once, but her quest for revenge in this Sundance crowdpleaser is more cutesy than charming.

This is a relentlessly grim film with an unsettling view of human nature; its audience will be small and self-selecting, but those who like having their guts ripped out by a movie will leave the theater satisfied.

The opposite of the soulless franchise extension it could've been, A Quiet Place: Day One delivers a prequel that elevates the series to new heights.

Mia Goth shines as usual, and Ti West's third slasher entry feels more visually polished than its predecessors, but it's also more dramatically sterile, thanks to a story that quickly falls apart and mounting references that add up to very little (if anything at all).

The Imaginary fails to capitalisze on some great ideas and wonderful animation. While it will shine as one of the best-looking films of the year with its ambitious 2D animation, that gloss can only do so much for a story that abandons its most interesting elements for a tried and tired rendition of an animated fairytale.

There are moments when Longlegs feels like a movie you’ve seen before, but with an evil filter laid over it: This is both a weakness and a strength, as Perkins’ horror surrealism renders the familiar strange, and the strange familiar.

While its chaotic new cast serves a clear purpose, Inside Out 2 is more metaphor than meaning. It explains plenty about the confusing emotions associated with puberty, often in intelligent ways, but it rarely lets them be felt or experienced, the way its predecessor did.

Idea Man is a lively if shallow journey into the mind of Muppet maestro Jim Henson.

The more The Watchers comes together, the less interesting it becomes. It’s a puzzle best left unsolved.

It’s a delightful watch for long-time fans that doubles as an entertaining sampler for those curious about this beloved series.

Bad Boys: Ride or Die provides a much more entertaining package than what came before, with thrilling and inventive action direction from Adil & Bilall. Yes, it’s as over the top and silly as ever, but it’s done with more panache and genuine wit than before, proving these Bad Boys, even at their older age, can still deliver.

The setup is forgettable, but Stopmotion builds to a grotesque and darkly beautiful finale that’s a great showcase for stop-motion animator Robert Morgan.