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.

Despite solid performances from Zac Efron and Ryan Kiera Armstrong, Firestarter feels stifled in story and presentation.

Operation Mincemeat turns an absurd chapter in World War II history into a dour homework assignment.

Thoughtfully conceived and brilliantly acted, it’s one of the most bleakly funny films to come out this year.

The pace of this gorgeously shot Norwegian pseudo-fable will be a roadblock for some, but give Vogt a chance. Storytelling rewards are bountiful once The Innocents executes its conflicts well above the expected maturities of players on screen.

Downton Abbey: A New Era starts out as a wistful return to the familiar before shedding its skin and letting the series’ nauseating ugliness come frothing to the surface. It goes from funny and charming to jaw-droppingly grim at the drop of a hat — a wild tonal whiplash that’s absolutely worth a watch. It’s a concentrated dose of Downton Abbey.

Top Gun: Maverick is an out-of-bounds blast of afterburner fumes and thrillseeker highs that's sure to please audiences looking for a classic summer blockbuster.

Men, from Ex Machina and Annihilation director Alex Garland, is a folk-horror movie about gendered trauma that quickly falls apart. It skillfully builds tension in its first half — with the help of brilliant lead performances — only to have that tension dissipate when its inventive metaphors become consumed by traditional staging and literal explanations.

The Twin wastes its desolate location, talented cast, and strong opening in a meandering story that hinges on a last act reveal that doesn’t pay off.

Doctor Strange in the Multiverse of Madness is a Sam Raimi movie from top to bottom, for better and worse.

Hit the Road is a quietly powerful yet very funny film about the sacrifices we make for family.

Hulu’s Crush is a queer coming-of-age movie in which very little happens, and whose characters barely exist outside of their joking lines of dialogue. Its young actors are a delight, but even as a story of teenage crushes, it rarely captures what it feels like to be young and in love.

Hatching is a scattered body-horror romp with the best child performance this year.

Bubble is an effervescent piece of heartfelt sci-fi that’s as refreshing as its cast and concepts.

Memory is a well-made if uninspired action flick that forges an interesting new take on the genre… then forgets all about it.