Kevin Hart and Woody Harrelson have solid goofball vs. grump chemistry in an entertaining action-comedy.

Official Competition is a sharp black comedy that skewers grandiose wealth, egocentric artists, and how quickly art is swallowed by money and celebrity.

Beavis and Butt-Head Do the Universe brings the boys back for an intergalactic comedy with plenty of their trademark crude laughs.

Shady lunatics are stuck in a lavish woodsy manor where they’re encouraged to explore their repressed issues to their most destructive ends — and that’s not even all of the devious entertainment available. It’s got storytelling hiccups along the way as Meir favors the absurdity of singular moments over and over, but that’s also part of its sharp-toothed charm. Come curious, leave bloody. That’s the path to enjoyment.

Despite its great performances, Next Exit is a mess of a movie that fails to take advantage of its own supernatural premise.

Corner Office is a just-okay office satire saved by Jon Hamm playing the anti-Jon Hamm.

Spiderhead is loaded with original sci-fi ideas, and while it may not stick the landing, it makes for an intriguing experience.

Strong performances and attractive visuals keep Lightyear afloat, but the story isn’t the quality you’d expect from Pixar.

Unhuman is a good-enough breed of afterschool special horror that succeeds in championing positive messages between sloppier fights with the risen dead.

Swallowed is an LGBTQ+ thriller that trades complexity for intimacy over a drug run gone horribly wrong. It's intense and thrilling at the right moments, capitalizing on authentic body horrors.

Chloe Okuno’s stalker flick is so solid that that’s hard to believe that this is her first foray into feature-length films. The story will linger too long for some, but anyone willing to stick with it is in for a treat.

Nostalgia and new thrills make an interesting marriage in an imperfect but otherwise exciting Jurassic World Dominion.

Hustle may be a conventional sports drama, but it still offers Adam Sandler another dramatic role to shine in.

Ambulance may often be nonsensical, but it’s also the biggest, boldest action movie of the past year and a spectacularly raucous return to form by director Michael Bay.

Less of a straight-up horror movie and more creeping dread, You Won’t Be Alone explores the spectrum of human emotion with an otherworldly curiosity. Perhaps it takes someone on the fringes of society to find out what it really means to be human.

Showing Up is the wonderfully muted tale of an artist struggling with expectation while dealing with her own insecurities.

More distancing than disgusting, Crimes of the Future strings together great body horror ideas but does little with them.

An effective debut feature from director Riley Keough, War Pony is a rare breed – a native story told by an outsider seeking to uplift the community rather than exploit it.

Although its rapid pacing doesn't always allow for the dramatic moments to resonate for as long as they could, Baz Luhrmann's Elvis biopic is a heartfelt and moving tribute to the late rocker.

Triangle of Sadness pokes fun at the ultra-rich, playing their undoing for laughs in the worst of situations. It’s a masterclass in cringe comedy with Harris Dickinson playing it straight throughout as he finds himself in appallingly toe-curling situations.

It’s a downright magnificent film that puts most modern studio comedies to shame. There isn’t a single joke that doesn’t land with gut-busting precision (even the most ludicrous, over-the-top gags are deeply character-centric), and when the filmmakers want to slow things down and make you take stock of key relationships, Ahn and de Ray know precisely how to paint with light in order to make moments feel like memories.

The Bob’s Burgers Movie is a glorified episode of the series, but that’s hardly a bad thing.

While Tilda Swinton and Idris Elba give it their all, neither can save the film from collapsing in the third act. An unconvincing conclusion undermines a far better first half which sees Swinton and Elba waxing philosophical in a hotel room.

More Jackass is never a bad thing, so Jackass Forever follow-up Jackass 4.5 is fun despite being a scattered collection of interviews and deleted scenes. Like its predecessors, it’s bonus content for a Jackass movie delivered at feature length, which makes it catnip for long-time fans.

There’s social commentary here, but it’s largely incidental. Instead, Armageddon Time stops short of any meaningful statement, spending most of its time admiring the view.

A low-energy comedy remade from a French farce, The Valet tries (and fails) to inject an absurd story of stardom and fake romance with added commentary and sentiment. Eugenio Derbez and Samara Weaving lead a more than capable cast, but they can’t overcome the film’s sluggish length and disconnected story.

Based on the scrappy Japanese zombie comedy One Cut of the Dead, Michel Hazanavicius’ Final Cut is a more polished version — for better and for worse — but it’s just as fun and self-reflexive, while also leaning into its remake status for a few added laughs.

Chip ‘n Dale: Rescue Rangers isn't the first movie to do what it's doing -- with live-action and animation sharing the screen, helping nurture a meta-comedy adventure -- but it's damn fun and one of the cleverest uses of elder pop culture properties in a while.