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.

Rise of the Teenage Mutant Turtles: The Movie soundly trumps other Turtles reboots in the humor and heart departments, although its simple plot keeps it just short of amazing.

LEGO Star Wars Summer Vacation wraps up the trilogy of sequel character specials with an emotional conclusion and some very funny summer riffs on beloved characters.

James Morosini’s shockingly funny I Love My Dad builds on the actor-director’s real-life tale of being catfished by his distant father. The story is told from the point of view of his dad, a character played with hilarious desperation by comedian Patton Oswalt, resulting in a bizarre act of cinematic empathy that’s as moving as it is intense.

Dan Trachtenberg’s Prey never lets up. It’s full of the Predator franchise’s trademark violence and tension, but it’s the ferocious, star-making turn from Amber Midthunder that stands as its greatest strength.

The craziness of David Leitch's train never goes off the rails nor reaches top speeds but still brings us along for a smooth and stable joyride that outshines its recent American action counterparts.

In Thirteen Lives, Ron Howard sheds the spectacle of the 2018 Thai soccer team cave rescue by recreating the impossible logistics, choices, and dangers with intimacy and chilling claustrophobia.

The Reef: Stalked is another middling mid-budget fin flick that’s tonally confused somewhere between Shark Week and Lifetime.

DC League of Super-Pets may have thoughtful filmmaking on its side, but what it doesn’t have is a voice cast that can lend life and personality to its characters.

Persuasion is a disappointingly limp adaptation of one of Jane Austen’s great romances. While Dakota Johnson does her best to give director Carrie Cracknell a contemporized, charming version of Austen’s heroine Anne Elliot, the screenplay’s foundational reframing of the character strips away everything that makes the book’s version interesting and quietly heroic.

Jordan Peele’s Nope is a bleak, hilarious sci-fi-horror romp, and one of the most entertaining summer movies in years.

With shades of Get Out, Culture Shock, and The Forever Purge, American Carnage is yet another frightening-enough, albeit bogged-down, tale about how the American Dream is no longer for everyone.

Where The Crawdads Sing is only mildly interesting if you look up the accusations against its author.

Paws of Fury: The Legend of Hank curiously exists as a Mel Brooks movie remake, though that's also its most redeeming feature.

Don't Make Me Go features excellent performances from John Cho and Mia Isaac, but it stumbles big at the finish line.

An impression of much better action films, spy thriller The Gray Man (directed by Joe & Anthony Russo) wastes its all-star cast by giving them little to work with beyond quips. While it eventually becomes watchable, it spends most of its runtime being visually and emotionally indecipherable.

Clocking in at nearly two hours, Peter Strickland’s sound-and-food odyssey Flux Gourmet is only ever alluring when its made-up artform (“sonic catering”) is front and center during surreal vignettes. Otherwise, it falls back on rote observations and explanations about what compels its characters to create — a far less engaging experience than actually witnessing that creation.