The result is a visually rich film that finds moments of entertaining inspiration but suffers from a frustrating lack of focus.

Nicolas Cage plays a mediocre stand-in for all 'canceled' men in this provocative cringe comedy, driven by a sharp screenplay and subtly surreal filmmaking.

Despite a capable cast and crew, Foe is a muddled mess that feels more like Black Mirror Lite than powerful sci-fi commentary.

Pet Sematary: Bloodlines tastes a bit better than a nothingburger, but lacks seasoning that you’d hope for from something tied to Stephen King’s bibliography.

Though its predestined, blockbuster exorcism sequence just manages to provide a satisfying conclusion to the story, the underdeveloped synchronized possession element creates more problems than it solves and adds bloat to a movie which would have benefitted from a leaner, more measured approach.

PAW Patrol: The Mighty Movie feels more like a legitimate feature film than its predecessor, but it’s still well within the realm of distractor cinema rather than something parents would want to watch with their kids.

Benicio del Toro's understated performance as a soft-spoken detective is about the only interesting thing about this new Netflix thriller, which drowns a thin murder mystery in lots of ominous atmosphere.

Totally Killer may not reinvent the wheel, but its blend of Scream meets Disney Channel Original movie gets the job done quite admirably. The cast and the story’s heart makes up for any technical missteps, and while it definitely falls into the usual time travel traps, it makes fun of itself while doing so!

Almost 20 years into the franchise, Saw X showcases an emotional depth that manages to take one of these stories higher than ever before. Make no mistake, though, the traps are still on full display and Jigsaw still has full intent to showcase the true evils of humanity.

Godzilla and Rogue One director Gareth Edwards returns with an original (albeit derivative) science fiction vision: the story of a future war between man and machine, as told through the bond that develops between, well, a man and a child-sized machine. As pure spectacle, The Creator is often jaw-dropping in its imagery, its relatively frugal special effects, and the detailed depth of its futuristic design. It's shakier as drama and sci-fi – and in its sentimental depiction of synthetic humans just trying to live their synthetic lives, a bit out of step with the anxieties of our increasingly AI-dominated age.

It Lives Inside feels desperate to project specific cultural experiences, but it has neither the tact nor the aesthetic flair to weave a competent horror movie around them.

What it lacks in so-bad-it’s-good silliness it makes up for with its heart and mostly practical slaughterfests. Kevin Bacon and Peter Dinklage having an absolute blast in their roles doesn’t hurt, either.

No One Will Save You is at its best when it marries the tension of a home invasion thriller with the thrills of an alien abduction film, and Kaitlyn Dever proves she has the chops to carry a whole movie on strength of her facial expressions alone. However, the film ultimately fumbles when it becomes both a convoluted action film and an on-the-nose parable about overcoming grief and guilt.

Expend4bles is a crushing disappointment that lacks any of the nostalgia, charisma, and charm that made the franchise appealing in the first place. Perhaps worst of all, this failed mission is boring. There is no pleasure taken in saying this once highly entertaining action franchise is well past its AARPrime. It would have been great to have rounded the series off with a fifth entry, but after this flat and uninspired effort, the franchise doesn’t deserve that last hoorah.

Alexander Payne finds deft balance with The Holdovers, in which every glance and verbal exchange may as well be set up for something equally hilarious and touching.

Satanic Hispanics attempts to bring authentic Latin folklore to modern horror audiences and boasts great doses of monsters and gore. Unfortunately it’s also held back by some uneven storytelling and humor that doesn’t always land.

With a tour de force performance by Glen Powell and a sharp script, Hit Man delivers the kind of intense romance sorely lacking in sexless Hollywood movies. It’s a fascinating character study that, though directed by Richard Linklater, gives off the vibes of a chaotic, dark crime comedy from the Coen brothers. Come for Powell's ascendance to superstardom, stay for one of the funniest and most entertaining movies of the year.

A quick, funny victory lap for anti-establishment Redditors and stonk enthusiasts.

Kenneth Branagh’s third Poirot film is his best and strangest yet.

For all the fun that the cast seems to be having with Dicks, it’s never as creative in execution as it needs to be. There are chuckles to be had, but the overall experience is defined by narrowness rather than naughtiness.

Hayao Miyazaki delivers the perfect coda to his illustrious career with a stunning animated adventure that reminds us how lucky we are to live at a time when Studio Ghibli is making movies.

The Nun II is a marked improvement on its predecessor, as the winning duo of Taissa Farmiga and Jonas Bloquet reward the faith of Conjuring fans with a scarier, meatier boarding school nightmare that makes great use of Valak the Demon Nun, even if the mythology-heavy plot specifics get a little lost along the way.

A passionate, well-intentioned deviation in style, Hamaguchi Ryusuke’s Evil Does Not Exist doesn’t quite hit the mark with its meditations on nature. However, in its best moments, it’s another entrancing dramatic piece from the Japanese maestro, whose strengths lie less in observing natural environments, and more in observing people’s nature.

Harmony Korine’s infrared assassin movie Aggro Dr1ft is a video-game-inspired experiment that’ll have you in a trance.

Sofia Coppola proves to be the perfect choice to tackle the life of Priscilla Presley through a film that deeply understands the desires and dreams of a teenage girl

All Fun and Games is an appetizer of a movie served as the main course, lacking in creativity when it comes to turning childhood games into pure horror.

Poor Things is sex-comedy Frankenstein by way of Jules Verne, and one of the most imaginative comedies in years.

Marrying a tight and effective script from Andrew Kevin Walker, smart performances from Michael Fassbender and Tilda Swinton, and sharp editing, this assassin odyssey is one you’ll want to watch again and again.