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.

Even as Tom Clancy’s Without Remorse goes through some familiar paces, it’s elevated by the presence at its center of star/producer Michael B. Jordan.

I couldn’t help but feel like Things Heard & Seen would have been a much better film if they stripped away its ghostly elements in favor of everyday horrors that Pulcini and Berman nailed so effectively in its second act.

The Mitchells vs. The Machines is a ridiculous, riotous, and relevant adventure fill with great humor and winning sentiment.

It may not be a flawless victory but the new Mortal Kombat movie is a fun time for fans of the game franchise.

Stowaway is shrewd in its decision-making and even better in its execution.

Synchronic isn't a home run, but a decent time travel triple is always welcome.

Ufotable’s jaw-dropping visuals alone make Demon Slayer the Movie: Mugen Train well worth a watch, even if the film stumbles a bit at the climax.

Hayes and Papadimitropoulos' script is meticulous in its capturing of the internal contradictions that make up real people. Stan and Gough fearlessly embrace it all. Together, they give us such an honest and intimate exploration of an adult relationship that Monday feels almost like prying. Yet the most fascinating element of this rich drama is that there is no determination of judgment. No easy blame may be laid.

The Courier is a tense, well-executed spy drama that wisely focuses on character and performance more than thrills, knowing that if we actually care about these men it will drastically heighten every narrowed glance, near miss, and frightful chase. It's not always the freshest adventure, but that's when the acting carries the piece and breathes life into these unlikely heroes.

In the Earth is an oppressive, bizarre trip of sight, sound, and spore-induced psychedelia. Director Ben Wheatley sometimes sacrifices characterization for the loftier ideas about nature he wants to explore but given how innately the audience should understand how one would be affected by a pandemic, it’s a gambit that mostly pays off as the film’s third act roars toward an all-out sensory assault in the climax.

Melissa McCarthy and Octavia Spencer have sparkling screen presence, but can’t thrive under Ben Falcone’s utter lack of vision. Thunder Force doesn’t work as a superhero movie or a buddy comedy, as it refuses to revel in the big moments of either.

While sci-fi is generally rife with allegories, a steadier hand was needed here in Voyagers. The messaging, though noble and necessary, feels obvious to the point that it takes you out of the film. The cast is talented and the premise is promising, but the story plays out in a predictable fashion, which also works, in a way, to undercut the meaning.

The Father is a devastating masterwork by first-time director Florian Zeller.

There are moments in The Unholy that strive for shocking, even sacrilegious. But Spiliotopoulos lacks either the imagination or the guts to create something truly soul-rattling.