We’re All Going to the World’s Fair is a moody, slow-burn horror drama about loneliness online.

While not necessarily the very best of this genre, it’s a solid character drama benefiting from strong performances by a top-drawer cast.

The Cellar has a cool and creepy set up but then fizzles once the answers start arriving.

Choose or Die boots up a retro-style survival horror that will muster up a few delightful scares for the generation of gamers who grew up with Zork and The Valley of the Minotaur. But beneath this terror-filled glimpse of the ‘80s lies not much more than a bog-standard horror flick.

A deeply misguided act of worship, it starts out as a hilariously bizarre showreel of strange visual effects, before devolving into a distant, disconnected retelling of the highlights of Dion’s life.

Metal Lords is earnest with metal but sloppy with character and story. It delivers a rousing finale but the journey there is uninspired and half-formed.

It looks drab and feels like it was made by people who want to leave its magical premise behind, even though the series refuses to have anything resembling grown-up politics or perspectives.

Cole Sprouse and Lana Condor are a fun duo, capable of feeling human and endearing in the midst of cosmic turmoil. The movie's not a full home run, but it's surprisingly silly and shrewd.

Morbius is unspectacular in ways that waste the potential of what could be an intriguing hybrid of sinister horror and superhero thrills.

The Contractor may have an underwhelming conclusion, but the journey to get there is an emotional one, with a strong performance by Chris Pine.

You Are Not My Mother effectively mixes folk horror, family drama, and slow-burn scares to deliver an unsettling story elevated by some fantastically nuanced performances.

Bodies Bodies Bodies’ great ensemble and delightfully chaotic script make for a tense and laugh-out-loud funny film.

Cooper Raiff dances around complex emotions with the smoothest of steps in Cha Cha Real Smooth, sliding into the definition of feel-good filmmaking.

The Lost City is a decent action-comedy that coasts on the presence of its stars.

Zach Braff and Gabrielle Union are great pillars here, though the film itself isn't consistent enough with its tone, snapping back and forth between sweet sentiment and cheap gags.

Black Crab has all the ingredients to grab you and take you on a thrill ride -- and at times it achieves this -- but it suffers partial collapse by the end because of its need to land a little loftier than necessary.

Windfall is a tight, smartly constructed thriller that succeeds on the strength of its performances.

Umma isn’t scary, but the themes behind it are terrifying as it deals with generational trauma and guilt. Though the cultural references run deep, it’s overstuffed with symbolic imagery that is never fully explained. Though Oh and Stewart give solid performances, the tone and tension of the story ends up being choppy and underwhelming.

Deep Water aspires to be a boundary-pushing erotic thriller but is stuck treading water in the kiddie pool.

While its gnarly payoffs eventually peter out, X is filled with fun and intense setups that harken back to classic slasher fare.

Linoleum is a heartfelt story about making every day seem like something fantastic.

It walks a tightrope with its topics, but Williams is delicate and confident with every step — his performers following close behind, dominating the screen.

Marcel the Shell With Shoes On suffers from an aimless plot that feels stretched too thin, but it provides one of the most endearing and adorable animated characters since Paddington Bear. It delivers enough heart, laughs, and innocence to forgive its shortcomings.

Richard Linklater’s animated Apollo fantasy is scattered, but sweet.

Everything Everywhere All at Once is a complex film that encompasses a variety of subjects, but it does justice to each of them with a carefully written script, marvelous performances, and a healthy dose of bizarre humor to counter its bleak story. Michelle Yeoh in particular gives a powerhouse performance in a story that puts a fresh, welcome spin on the idea of the multiverse.

Jujutsu Kaisen 0 manages to work as both a standalone introduction to the anime and also a satisfying prequel to those familiar with this world. With stunning animation, complex and memorable characters, and a healthy dose of horror imagery, this is one of the best shonen anime films in a while.

Fresh delivers a full-course meal with dazzling cinematography, disturbing imagery, and one of the best horror performances of the past few years. Sebastian Stan joins the pantheon of horror psychopaths as this delightfully gory movie explores the world of modern dating.

The Adam Project is a thoughtful, witty mash-up of all the movies from my childhood. It’s Back to the Future meets The Last Starfighter with a slew of wonderful performances from a cast that clearly loves the concept as much as I do. Ryan Reynolds is on top form as Adam, while Walker Scobell matches him punch for punch with a great debut performance.