Evil Dead Rise is both a familiar and refreshing Evil Dead sequel that delivers all the gore you’d expect with a measured dose of the humor that makes this series a fan favorite.

Shazam! Fury of the Gods may not pull the heartstrings like its predecessor, but there’s no shortage of the chaotic good humor and energetic performances that put Billy Batson and the Shazamily on the map.

John Wick: Chapter 4’s incredibly staged set pieces, engaging ensemble, and stylish production design coalesce into a modern action masterclass.

Sword Art Online Progressive: Scherzo of Deep Night won't woo any new fans into the fold, but it's an enjoyable enough return to the world of Aincrad for longtime viewers to dig into.

Despite its limited scope and predictable plot, The Magician’s Elephant succeeds at being a quaint animated film with a positive message.

After five great seasons, Luther’s feature film adaptation proves to be a major let down, robbing the title character and his loyal fans of the little delights that made the series work.

Emotions and brutality are at an all-time high in Scream 6, setting it up to be the best sequel in the franchise yet. Though it does ultimately fumble the reason for Sidney Prescott’s absence, RadioSilence has officially proven that there’s a future for the franchise with or without its original final girl by giving us strong connections to the new Core Four.

While Creed III may not stray too far from the very familiar format of a Rocky movie, seeing Creed truly begin a legacy of his own apart from Rocky Balboa is an exciting chapter for the series.

We Have a Ghost is a mostly bland movie, elevated by a few good performances and an intriguing premise that doesn’t go as far as it seems like it should.

It’s gory, fun as hell, packed with hilarious grotesque kills and over-the-top characters, and at 90-ish minutes, it’s paced near perfectly and never overstays its welcome or overdoses on the joke.

Winnie the Pooh: Blood and Honey is noteworthy only for its name, as it turns out that blending slasher blood with Pooh’s honey together is like oil and water: it just doesn’t mix.

Ant-Man and the Wasp: Quantumania has just enough heart, humor, and excellent performances to make up for its more underdeveloped aspects.

Magic Mike’s Last Dance is measured and mature, which makes it less of a crowd-pleaser than the first two movies, but it allows Channing Tatum and Salma Hayek to bask in their incredible romantic chemistry.

While Sharper is visually stylish and is driven by some excellent performances from Sebastian Stan, Julianne Moore, and Brianna Middleton, this con-artist thriller overuses the same plot twists so much that they lose all their impact, and later the initially shrewd characters become too easily bamboozled.

The Outwaters is found-footage fearlessness that needs to be seen to be believed, but will be met by only the most divisive of reactions.

Jennifer Lopez and Josh Duhamel try their best with an interesting premise that’s squandered by script with barely any laughs, gratuitous violence and unconvincing action.

Before Infinity Pool loses its way toward the end, it proves to be an enticing work of depravity that explores money and privilege through horrifying, violent excess.

It’s a film that fits perfectly within the confines of a romantic comedy even while it swaps out every familiar element and explores brand-new dimensions in the process.

There's nothing uniquely surprising or exceptionally rousing, which is a shame given the unfathomably dreadful predicament and an interesting turn of a performance from Dave Bautista. It's a film without sensation that feels like it's pulling its punches across the board – development is stunted, ideas lack passion, and the camera avoids visible violence – before the ending strolls off into the sunset with barely any goodbye.

80 for Brady is a surprisingly sweet and sentimental comedy led by four stellar performances — especially by Lily Tomlin, who’s never been more radiant.

Despite game performances by a slew of returning cast members, it doesn’t justify its existence as anything other than a mercenary attempt by Paramount+ to cash in on audience nostalgia for familiar faces.

Alice, Darling is a measured, affecting observation of a young woman finally coming to grips with how much an emotionally toxic romantic relationship has viscerally changed her.

New Gods: Yang Jiang is worth watching for its novel animated action sequences, but its muddled story lacks the punch of its predecessor, New Gods: Nezha Reborn.

Kids vs. Aliens brings gloopy, grotesque practical effects to a childlike sci-fi thriller that fails to shine outside kill sequences and costumes.

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

The Drop has a great premise about an accident that forces a couple to revisit their relationship and needs, but it never really lives up to its promise.

The Devil Conspiracy is a high-concept religious action flick with horror influences that sells its ambitions short but still entertains despite itself.

Missing owes its best moments to learning from 2018’s Searching, but is a bit of a downgrade in terms of Screenlife usage.