Bambi: The Reckoning is an audaciously bloody but distractingly humorless creature feature.

With more jokes than you can possibly catch in a single viewing, The Naked Gun proudly brings cinematic groaners and outrageous sight gags into the 2020s.

As a horror-comedy, Ick commits the sin of not being remotely haunting enough to make for a decent horror movie or anywhere near funny enough to be a good comedy.

Pete Davidson does solid enough work in a more dramatic role and the supporting cast does the best they can with the material, but The Home collapses under its muddled messaging, overly familiar and sometimes ridiculously heavy-handed imagery, and a lack of tension.

Osiris is an Aliens retread that brings the firepower and little else.

In House on Eden, TikTok stars make found-footage horror that forgets the scares.

These First Steps might not be the great strides I was hoping for, but they are sure footing for the Fantastic Four to officially leap into the MCU.

A movie that’ll just about keep young viewers’ attention, Smurfs is part Rihanna jukebox musical, and part flimsy attempt to give the little blue critters an identity that’ll stick.

With no new ideas and little filmmaking panache, Don’t Log Off is a tedious attempt at computer screen horror that fails to make the most of its format.

Though the aesthetics are consistently on point – great camerawork, suspenseful use of shadows and light – its characters and plot lack coherence. Tension builds promisingly in the first half, but by the climax, muddled action and shallow character motivation sap the suspense, and any opportunity for commentary is wasted

Cloud is a masterful, paranoia-inducing action-thriller with a horror maestro’s touch, filled with great performances, terrifying scares, and a finale that will linger in your mind long after it’s over.

There’s a fun slasher buried beneath the too-faithful reboot plot of the new I Know What You Did Last Summer. Unfortunately, it’s overshadowed by too many callbacks to the first movie in the series and too little originality. The mix of new stars and returning favorites provides some urgency, but does little to give it an identity all its own.

Abraham’s Boys has some interesting ideas when it comes to a Van Helsing-based Dracula spinoff. Unfortunately, its weak visuals and lack of atmosphere stop it from fully delivering.

Amazon’s Heads of State is a near-humorless buddy comedy film, saved by its compelling leads and elaborate action sequences.

Danielle Deadwyler shines in 40 Acres, a post-apocalyptic home-invasion thriller that injects heart and soul into standard thrills.

Despite a strong performance from Nick Offerman, Sovereign is a film that’s inescapably slight and with little to say with its painfully relevant story of modern extremism.

Superman is a wonderfully entertaining, heartfelt cinematic reset for the Man of Steel, and a great new start for the DC universe on the big screen.

The Old Guard 2 is a disappointing sequel that isn’t as fun or engaging as the first film and doesn’t do enough with its face off between Charlize Theron and Uma Thurman.

Please Don’t Feed the Children has a few things going for it – namely capable lead performers Michelle Dockery and Zoe Colletti – but Destry Allyn Spielberg’s boring, predictable first feature definitely doesn’t feel like it comes from a descendant of filmmaking royalty.

There’s a disappointing amount of “same old thing” to Jurassic World Rebirth. Scarlett Johansson, Mahershala Ali, and the rest of the cast are intriguing and sympathetic throughout, but Gareth Edwards doesn’t quite recapture his signature flair for grand-scale visuals nor does David Koepp find the magic of his original Jurassic Park screenplay, opting to follow that movie’s structure as more of a remix than a rebirth.

An extraordinary first feature and one of the best films of 2025 so far, Sorry, Baby pulls off astounding feats of storytelling.

M3GAN 2.0 hotswaps horror for sci-fi/action to mixed results, but M3GAN’s absolutely heinous wit and killer moves leave her, and not the new genres, the star of the show.

Alma & the Wolf is an amusingly off-kilter combo of monster movie and psychological thriller let down by a disappointing ending – but it’s a showcase for rising star Li Jun Li.

KPop Demon Hunters is a stunning animated action musical with terrific fight sequences, catchy musical numbers, and an ample amount of harmony and heart.

28 Years Later is as potent and timely an exploration of cultural strife as the original, and Danny Boyle and Alex Garland tug at the heartstrings with bloody, deadly skill.

The adaptation stumbles in its third act, but before that, Akimoto builds a killer video game-like time loop with striking imagery and a heartfelt depiction of loneliness. The action is tremendous, and the character of Rita provides an excellent viewpoint for watching an alien attack play out over and over again.

Elio boasts dazzling animation – and even more striking emotional depth.

It's a faithful devotee to the sports-movie formula that’s kept from greatness by a few too many unnecessary components and a finish line that maybe should’ve been closer than two and a half hours away. But in spite of that, it’s still a hell of a ride.