Space Jam: A New Legacy enters the 21st century with LeBron James, impressive visuals, more personal stakes, and a fantastic villain in Don Cheadle. Unfortunately, the movie is too concerned with showcasing Warner Bros.’ biggest franchises that Bugs Bunny and Friends get sidelined in their own movie.

Pig subverts the expectations of the average revenge-thriller and accentuates the deep emotional scars that often underscore these stories. It features a measured, meticulous performance from Nicolas Cage.

Gunpowder Milkshake does its formidable cast dirty with a bland script, recycled story, and an empty comic book style that does little but shine up a stale outing.

While Fear Street Part 2: 1978 still offers some thrills, it's not a cut above its predecessor.

The Boss Baby: Family Business delivers middle-road mirth, full of action and quasi-clever jokes, and featuring the fun voice additions of James Marsden, Jeff Goldblum, and Amy Sedaris.

It’s astonishing that the helmer of The LEGO Batman Movie followed that vibrant, funny, and wildly entertaining offering with an action movie that is such an inane eyesore. And yet that turn still makes more sense than the plot of The Tomorrow War.

The dystopian fantasy elements of the saga are now at their thinnest, painting a cinematic world that may hit too close to home for some. Ultimately, it's a solid entry that can either act as an ending or a new beginning.

Fear Street Part 1: 1994 is a film rich with character, world-building, Easter eggs, and scares. Horror fans will be grinning over a visual allusion, then be pulled to the edge of their seat by this slaughter-packed adventure, then catch themselves screaming at a harrowingly portrayed murder.

America: The Motion Picture is like Drunk History if the history were not only drunk but also on nitrous. Channing Tatum once again proves he's a comedy force to be reckoned with, backed by a stellar cast of capable and cunning joke spitters.

While it has action and humor aplenty, Marvel's Black Widow still isn't quite the stellar solo film the fallen Avenger deserves.

Justin Lin knows exactly what makes a great Fast & Furious movie. He’s directed several. For the latest, he re-teamed with cast and crew to allow this fantastic film series do what it does best. He delivers bold plot twists, grit-teethed gravitas, and out-of-this-world action to create the kind of cinematic spectacle that demands to be seen on the biggest screen with the loudest sound system possible.

Werewolves Within easily separates itself from the pack by delivering a quirky monster mystery filled with gentle laughs and massive maulings. Not every joke lands, and not every character fits, but overall it's an entertaining alternative to the season's more ghoulish and grim offerings.

There's not much to praise here. The script is beyond parody, the jokes fall flat, and it arguably wastes some of Hollywood's biggest names. But if you want to see lots of people getting blown up in some very pretty locations while Salma Hayek and Samuel L Jackson make sweet (gross) love while torturing Ryan Reynolds, then this one's for you.

Pixar's Luca may not be one of the animation studio's strongest efforts, but it's still a sweet summer getaway.

Pretty Guardian Sailor Moon Eternal The Movie is a feel good adventure that boasts stunning animation, vibrant storytelling, and the return of our favorite magical girl Sailor Scouts in a dynamic double bill that will inspire and entertain.

Infinite is a chaotic film. Plucking from well-worn cliches, it’s familiar enough to scratch the itch of action entertainment. Yet its world-building is so wonky you might do better to switch off your brain and let the flashy stunts wash over you.

Though The Devil Made Me Do It is a smart recalibration for The Conjuring series, its successes have little to do with its strengths as a standalone horror movie. Ed and Lorraine Warren's investigation may be an engaging mystery, and their opponent is a franchise-best, but the scares are just not as potent in part because half of them center on a possession victim who’s really not easy to root for.

Cruella's gonzo fashion, complicated characters, and truly bonkers backstory are compromised by obligations to be kid-friendly and its time-consuming need to over-explain everything it does.

In the Heights moves smoothly between cinematic realism and the magic of the stage, in a defiant musical about what it means to belong, and what it means to be remembered. It is one of the most moving and joyful films this year.

While it does some fascinating things with the zombie genre that we haven't seen since George A. Romero, Army of the Dead ends up bogged down by its own self-importance and forgets how fun it's supposed to be. Its promising opening credits sequence is so much better than the rest of the film.

Director John Krasinski delivers that rare horror sequel that (almost) stands toe-to-toe with its predecessor.

The Woman in the Window has both flash and fizzle. Amy Adams is great in the lead role, presenting us with a shattered recluse who wages war on lucidity daily, but the rest of the cast, while noteworthy, are sort of relegated to being plot pawns. Still, if you're looking for a higher class of claustrophobic Noir, and don't care too much about the resolution, there's a playfulness on display here that might scratch an airport novel itch.

A pleasant surprise that both undermines and elevates typical revenge sagas, Riders of Justice is a unique blend that charms and captivates.

While there’s plenty of large entertaining set pieces, Sheridan’s intriguing premise withers under its overabundant components.

A sequel that hopes to court Saw fans and mainstream audiences alike, Spiral: From the Book of Saw is likely to alienate them both. It’s a hollow imitation of the series, unable to meet its most basic visual and narrative expectations. It’s also a bad film in general, which tries to tell a socially relevant story that it can’t seem to handle.

Wrath of Man has plenty of anger and action, and it's at its intriguing best when the entire story gets sorted out and all the players are on the board, but it stumbles at being a time-release mystery.

Despite the powerful child performance at its center, David Oyelowo’s The Water Man struggles to focus on more than one narrative or visual idea at a time.

Justice Society: World War II is an entertaining romp that ranks among DC's best animated movies.