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.

The slapstick comedy works wonders, and stands in stark contrast to the endless pop culture-based animated comedies of the past 20 years. But it's the heart at the center of the movie – the dynamic between the dogs played by the likes of Adam DeVine, Idris Elba, Kathryn Hahn – that sells the story and makes this more than a one-joke movie.

It’s not without its charms, but its slow, rote genre elements yield no rewards, robbing Echo Valley of its thrills in the process.

The live-action How to Train Your Dragon can feel hemmed in by its faithfulness to the animated original, but it’s re-creating that film’s sense of heart and soul as well as its entire plot and most enduring images.

From a distance, Materialists seems like a straightforward love-triangle rom com, but Celine Song transforms it into a meaningful, introspective drama about self-worth.

It’s morally upstanding but dramatically dull, without any of the allure or excitement that made Armstrong’s Succession series such a smashing success.

A new Wes Anderson movie is always an event, but the writer-director’s latest whirligig comedy, The Phoenician Scheme, might be his slightest in a couple decades.

Predator: Killer of Killers definitely delivers on its premise. Its journey through several time periods is the perfect way to give us multiple Predator stories that each have their own distinct flavor and action highlights.

It’s more than a creature feature, but never in a way that undercuts the main event: Some truly startling above-and-underwater sequences.

It’s a spinoff that knows why the John Wick series has been so successful, and both effectively follows the rules while adding to the ever expanding world. While it takes a good portion of its screentime to find confident footing, when the second half gets moving, the energy is undeniable as Ballerina becomes one funny, bloody and creative fight scene after another. I’m hoping for an encore.

Fountain of Youth is a robust showcase of Guy Ritchie’s eye for action, but it falls well short of capturing the magic of the quintessential treasure-hunting movies it’s so clearly trying to replicate.

Coming off the triumph of its extension into TV with Cobra Kai, The Karate Kid franchise returns to theaters with Legends, a movie which is far less impactful than that show, yet still reminds us why the underlying story and themes of this series can still connect.

With a blistering score and a darkly comic undercurrent, Tornado is a timeless revenge thriller filled with hurt and heart.

Kelly Reichardt’s heist movie The Mastermind is crackingly, urgently alive, an assured and magnificent addition to an already storied body of work.

Fear Street: Prom Queen fails to channel both the outrageous aesthetics and the brutal violence of the films it’s imitating, making this indifferently made exercise in YA horror supremely skippable.

Highest 2 Lowest features an enormously theatrical Denzel Washington and the kind of wild tonal swings only Spike Lee can manage.

Despite a passionate performance from Colby Minifie and some compelling visuals, The Surrender sidelines its deft exploration of grief for drawn-out, pointless supernatural horror.