Matt Reeves’ violent, thrilling, darkly beautiful take on The Batman more than justifies its place in the franchise’s canon.

The Duke sets up a hilarious social satire under the guise of a comedy crime caper, with buckets of British humor.

Studio 666 features fun performances by the Foo Fighters, but its “kitchen sink” approach leaves it open to unfavorable comparisons to the movies to which it pays homage.

Texas Chainsaw Massacre is a sloppy and gratuitous killing spree with standout deaths but a poorly written story that ruins the experience.

This should be effective in introducing the world of Uncharted to people who are meeting Nate and friends for the first time, although the changes it makes can be inexplicable and jarring to those of us who’ve spent many games with these characters.

Hook's Dante Basco and his brothers deliver an outrageous comedy about love & family in The Fabulous Filipino Brothers.

With a simple but effective script and some fun visual experiments, it's an entertaining conspiracy thriller set in (and very much about) the post-pandemic world.

It takes Death on the Nile far longer than it should to reach its most impactful moments, but actor-director Kenneth Branagh cares deeply enough about Detective Poirot to make it work.

Moonfall makes its big ideas feel small and unimportant.

The fourth (and hopefully final, for the sake of its cast) Jackass is a nostalgic laugh riot.

A film with sights and sounds you’ve never seen or heard, it’s an intriguing watch with catchy, energetic numbers, even if it doesn’t always land emotionally.

It may not always succeed, but it arrives with an energy worthy of the TV comedy legends.

Led by moving performances from Julianne Moore and Finn Wolfhard, the film takes a roundabout approach to its drama, resulting in a realistic portrait of a relationship in stasis.

Writer-director Riley Stearns transforms depression and disappointment into a hilarious confrontation of death and a peculiar tale of self-image in an uncanny film with a precisely bizarre lead performance.

With a layered performance by Regina Hall as the university’s first Black dean of students, the film plays with familiar tropes and images from American horror, but re-fashions them into an unexpected, subdued story with a chilling emotional payoff.

With melancholy performances and an eye for natural beauty, Kogonada’s second feature film draws from masters of the past to create a glowing and moving future.

The Worst Person in the World is a concentrated emotional dose of living through the last half-decade of uncertainty.

Only Kaya Scodelario rises above the mess, working hard to try and craft an earnest and accomplished heroine that is by far too interesting for the rest of the boring dolts in the story.

Belle is a gorgeously animated, futuristic interpretation of Beauty and the Beast that combines dazzling song and eye-popping visuals for a well-meaning yet meandering modern fairy tale. Unfortunately, its heartfelt message is muddled by perplexing plot holes, occasionally grating characters, and a bloated runtime.

The latest addition to the Scream franchise expertly blends reverence for the source material while creating something that feels almost completely new. All of the performances are pitch-perfect as the new generation of Woodsboro teens step into their futures, the kills are gnarly, and no version of toxic fandom is left unmocked.

Parallel Mothers is a really engaging watch with plenty of unforeseen story turns that seem incredibly random at first, but ultimately come together in a very intentional way. Penélope Cruz gives a powerful and beautifully relatable performance as a woman navigating some very messy life choices with wisdom and empathy.

Mother/Android tries to bring an emotional heart to the robot uprising genre, but it’s so laden with tropes and short on personality that it’s hard to care about the characters. What little novelty exists comes far too late in the long, slow movie.

Swan Song is a beautifully acted near-future exploration of self, technology, and the soul.

As a musical, only a few songs really stand out, which is always problematic. There’s also a staginess to the whole endeavor that feels awkward and ham-handed when transposed onto the big screen. But director Joe Wright does get excellent performances from his whole cast, and creates a lush and beautiful period piece playground for the characters to exist within.

The Tender Bar is a coming-of-age dramedy that sails on the backs of the exceptional ensemble cast.

The Lost Daughter is a stunning and unflinching portrait of a woman swimming against the tides of social expectation.

Sing 2 is more of the same, which is dandy.

The Matrix Resurrections is a bunch of really good ideas stacked together to make a bad — and sometimes ugly — film.