Goodnight Mommy might be passable as a standalone, but it’s impossible to recommend over the original. Matt Sobel and ​​Kyle Warren venture somewhere new that still doesn’t differentiate nearly enough for its quieter approach.

Confess, Fletch is a clever soft-baked cookie of a mystery, never getting too intense or presenting massive stakes, which is the perfect sandbox for a wise-cracking investigator like Fletch to play around in as he relies on a mix of charm, smarts, and luck to make it through to the other side.

The Woman King overcomes the perils of its overstuffed script with a collection of performances that elevate the whole. As expected, Viola Davis is the emotional center of the piece, masterfully fine-tuning her performance to go from fierce to vulnerable as needed.

Peter Farrelly's follow-up to Green Book is a war drama with some solid laughs and a great Zac Efron performance, but a manipulative script with ugly optics and boring visuals that never achieve the prestige it clearly wants.

Speak No Evil is a worthwhile test of wills that’s sure to dampen anyone’s day with a superbly excruciating tale of monsters in civilian clothing.

Henry Selick returns to our screens with Wendell & Wild, a new stop-motion nightmare that brings an edgier and darker tone, more mature subjects, and even more laughs to the director's toolbox. Partnering with Jordan Peele and Keegan-Michael Key, this is a feast for the eyes; a hilarious, spooky, empowering story; and a movie you'll want to add to your Halloween rotation.

The Menu is a hilariously wicked thriller about the world of high-end restaurants, featuring a stellar cast led by a phenomenal Ralph Fiennes, some of the most gorgeous food shots in recent film history, and accompanied by a delicious hors d'oeuvres sampling of commentary on the service industry, class warfare, and consumerism.

Tom George succeeds in telling an excitably ambiguous case within a self-deprecating whodunit satire, even when employing the easiest tricks in the manual.

The Retaliators tries to transform musical stardom into a rock n’ roll horror epic, but suffers from “too many cooks” syndrome as the end product plays disjointed and can feel like a music video demo reel.

With a coming-of-age story that is universal in its portrayal of misunderstood artists and broken homes, but hyper-specific in its portrayal of the childhood that formed a legendary filmmaker, this is a therapy session turned into a hugely entertaining movie, aided by a fantastic cast, and one of John Williams' best scores in years.

Glass Onion: A Knives Out Mystery is a bigger, bolder, funnier, angrier sequel that improves on almost every aspect of its predecessor.

From its anachronistic homages to its tensionless filmmaking, Pearl — Ti West’s prequel to X — doesn’t have nearly as much to say as its predecessor. Mia Goth gives it her all as a villainess who dreams of stardom, but the film can’t decide what to do with her.

Weird: The Al Yankovic Story does for the music biopic what the real Weird Al did for many a hit pop song: it makes fun of it, reveres it, remixes it, makes it weirder, and improves it.

Clerks III delivers all the inappropriate cuss-cluttered humor and pot smoke that is Kevin Smith's trademark but evolves his sentimentality beyond bong-rip wisdom. The third Clerks installment is a moving ode to working-class nobodies that amplifies Smith's touchstone sincerity above Randal's not-so-passive aggression or Jay's lit-for-days attitude.

Aside from an unexpected ending, director Robert Zemeckis is basically doing a paint-by-numbers version of the studio’s much better original, just with modern animation and Tom Hanks. And while Tom always tries his best, even he can’t make this redo memorable on its own merits.

Barbarian is one of the wildest horror films in years from its combination of subgenres to full-throttle approach to unapologetic exploitation themes.

GoldenEra charts the rise of GoldenEye 007 in a documentary that should thrill those still holding onto their love of one of the N64’s most iconic titles.

Me Time has bursts of energy and vibrancy, mostly involving its two leads and their snappy chemistry, but it's also a hodgepodge of predictable buddy comedy beats that doesn't do much to separate itself from what's come before.

The Invitation represents everything that makes for a middle-of-the-road vampire experience, but doesn’t deserve to be wholly written off.

I Came By elevates a pulpy serial killer premise with fun casting and surprising story beats.

Sylvester Stallone doesn’t seem thrilled to be playing a superhero in Samaritan, a hodgepodge of non-ideas borrowed from better movies.

Maneater proves that shark horror flicks need to be more than just a finned predator in any form and dead bodies — execution matters, especially when your animated shark looks this ugly.

Funny Pages may be the most cringeworthy movie you'll see all year — and that's a good thing.

While Beast certainly does little to innovate in the survival thriller genre, it does serve decent fun for fans that want to see Idris Elba fighting a giant, man-hunting lion.

Orphan: First Kill doubles down as a prequel about Esther but manages to feel so uniquely standalone thanks to some supreme storytelling swings.

The Dragon Ball franchise’s first 3D CG-animated feature film is a fun, low-stakes love letter to Gohan fans with exciting momentum as well as room for some moving sentimentality amidst earth-shattering fights.

It’s an odd “rock and a hard place” production about survival of the fittest mentalities that can’t help but indulge soapy relationship dramatics amidst an otherwise dire entrapment, which will probably leave most laughing and irritated at the wrong times.

Neither polished enough to be engaging drama, nor campy or exploitative enough to be effective horror, They/Them is a plodding, tensionless, and ultimately cowardly movie. Even if it had something worthwhile to say, it would have no idea how to say it.