Cronin’s Evil Dead Rise is a blood-soaked blast. He summons all of the best aspects of the franchise, while still creating a beast all his own that can boldly stand apart from the series. This is the kind of horror franchise film that make audiences fall in love with the genre all over again.

The stifled quietness of “Strangler” leaves us wanting more, for better or for worse.

It’s simultaneously too much and too little..., but it is a wacky bit of history that is entertaining in fits and starts. No, not all the pieces fit together, and it certainly doesn’t speed up as the game winds on (something it might have done well to emulate from the game itself), but it’s got players worth rooting for and a story that keeps leveling up. It won’t stick in your brain like the game (who doesn’t still see those little blocks floating ever-downward?), but what else possibly could?

It’s charming — and it’s different, and it’s worth saving.

The “John Wick” saga has changed and evolved throughout the years, For this film, there is no denying how it has made Chad Stahelski one of our best action filmmakers, and how the franchise gave Keanu yet another career-redefining role. It’s been a wild ride, and one of the best and most consistent movie series ever. No matter where the roads lead, however, “I’m thinking John Wick is back.”

Bottoms is an ambitious sophomore feature from a director who is just getting started, one that can craft both a hilariously surreal teen sex comedy and marry it with one hell of an eye for action sequences.

It’s entertaining enough, but this is a story that doesn’t feel real, mostly because it isn’t.

Dungeons & Dragons: Honor Among Thieves conjures its own type of movie magic that proudly stands apart from other fantasy films. The heartfelt story, enchanting characters, dazzling visual effects, and fun-filled nature will allow the film to be a treasured classic. An adaptation of this caliber could be considered a roll of the dice to some, but Dungeons & Dragons: Honor Among Thieves has already proved itself to be an ironclad winner.

Visually, emotionally, and spiritually, the film is embalmed in an antiseptic sheen. As such, despite its formal rigor and effective, economic approach to storytelling, “Stonewalling” is hard to connect with.

While Scream VI still features its share of meta humor, it leaves no doubt that this universe is now fleshed out enough to support an infinite number of sequels.

As soon as you find yourself getting potentially sucked in by its sweetness, it throws out a fart joke or another gag that hits at the lowest common denominator. Most grimly, it assumes that its viewers need to be convinced to give the humanity of the intellectually disabled. As a society, we should be better than Marcus Markovich, and it shouldn’t take a movie to remind us of that.

Making her feature debut, writer-director Chandler Levack has pulled off a rare trick here by making a movie that feels warm and safe without coddling its protagonist.

Plaza steals the show with her killer instincts and comedic timing. If she can keep an operation this overstuffed afloat, there’s nothing she cannot do.

Children of the Corn is clearly one of the worst Stephen King film adaptations ever made — if anything, it seems unfair that it’s included in a category with so many good movies by the grace of a technicality.

Perpetrator suffers from a novice lead performance and a script that tries to do too much. It’s an ambitious addition to the feminist horror genre with blood and guts to spare, but it’s no game-changer.

No matter how outwardly anodyne, nearly every frame is a product of rigorous blocking and choreography, stamping each shot with a kind of Good Filmmaking Seal of Approval that makes the chasm between the film’s deliberateness and opacity all the more vast.

Afire doesn’t have that much story to tell or cards to turn over. When it does run out of reveals, we’re left with a character too thick to catch up and an approach that begins to double itself.

Rampling brings a quiet gravitas to the surly character, and there is something elegantly moving about watching her watch the world go by.

Like Luther’s latest nemesis, Luther: The Fallen Sun goes big, and not always in ways that work to its benefit.

It is a spiritual journey through the very fabric of a land, anatomizing how we navigate nostalgia for home and grief for lost loved ones when both have been long-destroyed by the senseless strike of an invisible force.

The documentary is remarkable for its access into Pope Francis’s life and its elegant footage, stylishly directed and edited by Gianfranco Rosi.

Only in the film’s final half-hour, which (unsurprisingly) sets the pair on a path to duke it out in the ring, do they — and this film — really spring to life.

If you have your heart set on watching a new release about people who have a ghost today, “We Have a Ghost” will be a tolerable experience. But for everyone else, reading the film’s highly descriptive title is about as interesting as spending 127 minutes watching it.

The blatantly ridiculous appeal of “Cocaine Bear” is proof enough that the project isn’t lacking in self-awareness, but to what end? It’s not unhinged enough to qualify as full-blown parody, and not smart enough to be called satire. Banks seems uninterested in directly referencing exploitation movies of the past, or in burying winking cultural critiques within the outlandish action. Maybe that’s too much to ask from a movie called “Cocaine Bear.” Like its title, what you see is what you get.

Ultimately, “Golda” holds three firm beliefs: That Meir is a leader to admire, that Mirren is an actress to adore, and that all interactions must be reverse engineered to fit this limited scope. It makes for a superficial biopic and blinkered bit of history, but does give the venerable performer a new accent to chew on and the chance to blow some smoke.

At a taut and elliptical ninety minutes, a couple of awkward final steps hardly feel like fatal flaws. Getting in, getting down, and getting out as style hopping sizzle reel, Disco Boy heralds a promising new talent who totally has the moves.

It may feel a little too surreally awkward and plodding in its first hour. But as a sweet movie smartly attuned to the power of the weirdo bonds that bind us to our family no matter the geographical distance or emotional dislocation, Defa achieves a sledgehammer of an ending in which not a single word rings false or feels sentimental.

It’s a natty-enough twist on the survivor story — what if you were stuck inside, not outside? — and one bolstered by the inherent watchability of star Willem Dafoe, one of the few performers absolutely up to the task of this particular feature.