Fear Street Part 3: 1666 wraps up the horror trilogy's story in a satisfying conclusion that's finally less homage and more its own original slasher.

The film makes up for some of the missed storytelling opportunities with its stylish, exciting action sequences, and its swift pacing, all of which combined make for a fun, overall enthralling time.

Despite a compelling first half, False Positive fails to imbue the pregnancy horror trope with depth or ingenuity, accelerating to a banal finish.

Squeezing every possible ounce out of the actors, script and sets, Stark delivers a thrilling medical drama that asks: what is the cost of living?

No Sudden Move is a tautly-paced noir thriller prepped with a never-ending carousel of twists and betrayals that culminate in a satisfying denouement.

First Date is a hodgepodge of familiar tropes and homages to teen romcoms and, while there is a sliver of promise, the film is lacking in charm.

I Carry You With Me poignantly captures the ache, the beauty of the characters’ love, and the pieces that get left behind in pursuit of something new.

Filled with a lot of action, The Forever Purge is at times thrilling, but it remains at surface-level rather than delving further into its themes.

The Tomorrow War is a fun entry into the sci-fi/time travel genre, though the pieces never add up to something all that memorable.

Fear Street Part 2: 1978 is a fun enough riff on 70s slashers, but works better as the middle chapter in Netflix's horror movie trilogy.

Overall, The Boss Baby: Family Business is a fun way for adults to spend some time with their kids, and in that regard, the movie completely succeeds in its purpose.

The concept is promising, and the violent delirium of the movie's visuals show that this could have been a fun, adrenaline-fueled romp. Instead, it's just an unfunny comedy that leaves a bad taste in one's mouth.

Fear Street Part 1: 1994 is a perfectly fine throwback slasher horror movie, but is weighed down by setting up the rest of Netflix's trilogy.

The biggest disappointment is perhaps that it doesn’t do enough to focus on Natasha, opting to set up Yelena as her successor. There is just enough Black Widow, however, to make this a distinct film, one that is less of a traditional superhero outing in the MCU, with the film more interested in exploring the lengths of human cruelty, perseverance, and the ties that bind despite everything.

India Sweets and Spices has a lot of overall great ideas and themes, even if it doesn’t always rise up to the potential of its setup and story.

Poignant and raw, the film is effective in all the ways it should be. While it does a better job engaging with its revenge-fueled storyline in lieu of a more familial exploration in the wake of the tragedy, the film still manages to land a heart wrenching blow.

Marks’ sophomore outing can be quite charismatic and fun, but it’s a misfire when it comes to exploring the couple and their attempts at polyamory.

Neville lingers long enough, painting a picture of a lost soul who brought so much of himself to the world while also wondering about his place in it.

Somewhat disorienting and riddled with deep-rooted anxiety, fear, and uncertainty that is expertly portrayed, All My Friends Hate Me is a standout.

Censor is chilling, an assured horror that blurs the line of reality for its protagonist as she delves into that which makes her most vulnerable.

Leon imbues the film with an uncertain sense of dread, but he doesn’t lead the story or its protagonist anywhere worthwhile. It’s as though the narrative was designed specifically to capture the feeling of being lost in the city and what that might do to someone, but there’s very little exploration of Alina’s interiority for it to be satisfying.

7 Days is emotionally resonant, sweet, tender, and genuinely funny.

Unevenly paced and with few laughs, Love Spreads fails to tell an engaging story and focuses too much on underdeveloped, unlikable characters.

Luca is a wonderful coming of age story with a nice message that balances deep emotions and a lot of adventurous fun.

While the film does take its time stepping out on its own and out of the shadows of Aladdin and its "tale as old as time" story (Long's own words), Wish Dragon is a heartwarming, charming film with a great message and lovely characters.

Infinite certainly has the star power to ignite some interest, and it's an entertaining ride with a compelling concept. At the same time, it buckles under the weight of its own world-building and suffers from a surprising lack of urgency.

Reynolds has made a name for himself with fun action movies and, though this isn't necessarily his strongest or most successful franchise, it does deliver laughs and an exciting ride despite Michael Bryce essentially being the same character Reynolds has played countless times before. Even if Hitman's Wife's Bodyguard is absurd, it makes for the big, dumb fun movie experience perfect for the summer season.

The lack of a strong narrative and characters, paired with pacing issues, turn the film from an intriguing premise to a boring, hollow, and overall tedious watch.

Sporting discordant sound design and deliberately surreal visuals, The Amusement Park emerges as a harrowing allegory about the terrors of ageism.

It isn’t an exaggeration to say that Plan B is one of the funniest, most thoughtful films of the year and deserves all the love and attention it gets.

The film is chilling, balancing its actually scary horror with a lot of heart, advancing the Warrens’ story and providing audiences with a change of pace from their usual cases.

A Quiet Place Part II feels hollow where it could have brilliantly captured the nuances of the characters and their journey. The sequel provides some new information, but doesn’t do the work to deepen the story.

Whereas most Disney remakes have been limited by a lack of originality, both in terms of script and character development, Cruella emerges as a much-needed act of rebellion, with the titular character donning an identity invested with true meaning. Needless to say, Cruella is the future.

While the pacing dawdles just a bit in a few places, The Outside Story is an unexpectedly warm film that asks its audience to engage with their own surroundings in the hopes that they, like Charles, might find something worthwhile.

It's underdeveloped and underwhelming, with clunky pacing and choppy scene transitions. What could've been a thoughtful, engrossing story unfortunately fails in every way imaginable.

True crime buffs could find something here, but they might be better off reading the novel it's based on. Susan Smith's story deserved to be told, but there had to have been a better way to do it.

The characters, in their fight to live another day, and the thrilling, suspenseful sequences are what make the film worth watching. However, Those Who Wish Me Dead could have more thoroughly explored the very details that drove the plot, which would have elevated it beyond a basic action-thriller.

There is so much that could have been done with the film’s plot and twists, but it’s never confident enough in what the story has to offer to lean into any of what might have made it thrilling.

Driven by the emotional drama that is constantly bubbling to the surface, the film handles the unsettling feelings of its characters and tension-building with ease, leaving the audience with a complex, compelling story.

The film attempts to deliver an emotional, compelling, and entertaining story, but it struggles with balance despite some lovely, uplifting moments.

While the film’s leading cast gives fantastic performances, Four Good Days lacks focus and fails to expand upon its emotionally powerful moments.

F9 returns to the heights of Lin's best Fast & Furious franchise films, combining big heart and bigger action while deepening its themes of family.

With an outstanding cast and compelling themes, In the Heights soars, bringing emotional beats together in a celebration of culture and community.

Army of the Dead is by no means a must-watch zombie or heist movie, and folks uninterested in this film would be fine to skip it.

The film balances multiple storylines with intense action sequences and, despite pacing issues, packs a major punch that will keep audiences riveted.

Here Today finds warmth in leads Crystal and Tiffany Haddish, which then allows it to push past some tricky tonal and pacing problems.

Limbo handles its themes with enormous grace, balancing despair with levity and a realism that makes this drama emotionally intense and worthwhile.

Replete with atrocious visual effects and sound design, Vanquish emerges as a ghost of an exciting action thriller with a tired, deadpan storyline.

Anchored by excellent lead performances from Ed Helms and Patti Harrison, Together Together is a charming crowd-pleaser with a lot of heart.

It’s a rousing horror with entrancing lore, an eco thriller with interesting themes, and a hostage drama that banks on gruesome and disorienting actions. Not everything comes together cohesively, but the story has a lot to offer and it’s grounded enough to leave a big and lasting impression.

The Mitchells vs. the Machines is a charming blend of heartfelt family connection with a wildly fun action comedy twist in its robot apocalypse.

While there's an attempt to convey a message about relationships, We Broke Up is more focused on awkward shenanigans than in exploring its characters.

Reliant on specific political clichés and a twist the audience will see coming from a mile away, Without Remorse is utterly bland and devoid of moxie.

It’s a passion project that, while evoking emotion in the wake of grief, could have used some more editing and fine-tuning for a better and smoother journey.

Its leading ladies are in fine form, as always, and they're backed by some lively performers. It's the story that struggles to come through, along with a reluctance to just let loose in every way possible.

Rooting itself in nuanced tech-noir, The Tangle unfolds into breathtaking lyrical poetry about human ambition and “the caverns measureless to man.”

Despite the film's underwhelming and bizarre story developments, French Exit will remain memorable for Pfeiffer's performance alone.

The cast does a lot of the heavy lifting in the film, which evades exploring the characters' trauma. The emotional drama is a vehicle fueling a messy story in a film primarily concerned with elevating the mystery that so easily unravels by the end.

Honeydew feels derivative from start to finish, its arthouse elements lending an aura of inauthenticity to an already-lackluster backwoods nightmare.

Uninspired in terms of narrative ingenuity, Sacrilege mimics cult horror tropes with detached superficiality, failing to either scare or compel.

Poignant, funny, and emotionally resonant, Language Lessons organically develops a heartfelt friendship while its cast exudes warmth and charisma.

There's a lot to like in this engaging and unnerving drama, but the finale doesn’t come together to deliver on an intriguing and chilling first half.

While the film tells a raw, intriguing story, it isn’t always smooth sailing.

Violation is trenchant and effective, deftly handling the emotional trauma at its core.

While the human characters are there for exposition and could’ve used additional development, Godzilla vs. Kong is engaging and visually stunning.

Instead of being the next John Wick, Nobody plays out more as John Wick lite, which could be disappointing for some. It's fun to see Odenkirk try something new at this stage in his career, and Nobody clearly knows what it is and never takes itself too seriously (see: the moments of levity, the soundtrack full of licensed classics). Still, these merits don't truly help elevate the final product beyond fleeting entertainment.

With strong characters and a twist that meaningfully adds to their story, Long Weekend is an engaging romantic tale that offers a satisfying journey.

Despite everything, it has its fair of shining moments. There's a clear direction Snyder's Justice League has that the 2017 version of the film does not, and for that alone viewers can appreciate this film a whole lot more because of it.

Crisis tries its hardest to be like Traffic, but fails in creating a satisfyingly thorough world with enough high stakes or tension.

Moxie has some heart and teeth as its Riot Grrrl-inspired teens smash the patriarchy, but it's more love letter to Gen X than a call to arms for Gen Z.

Lacking narratorial depth, convincing characters, and a plausible storyline, Curse of the Blind Dead utterly fails the original tetralogy on all ends.

There are minimal bursts of potential lurking in Chaos Walking’s messy execution, but it doesn’t deliver much but stagnant characters and dull action.

Despite some genuinely funny and endearingly nostalgic moments, Coming 2 America attempts to do way too much with its plot rather than keep it simple.

Despite a weaker final act, Night of the Kings is spectacular, enthralling, and gripping. It's nearly poetic in its execution and that alone makes it well worth the watch.

The film is bolstered by the strength of Cooke's magnetic performance and is energetically entertaining, heartbreakingly sad, and darkly humorous.

Upholding genre tropes whilst subverting them, Son is an unsettling fever-dream drenched in unspeakable acts that leave viewers on edge until the end.

Although based on an intriguing philosophical conundrum, A Glitch in the Matrix feels unreal on all fronts, poorly-researched, out of touch and vapid.

The Father dives deep into the mind, delivering an engaging film that is unsettling, achingly sad, and is strengthened by Zeller’s assured narrative.

It's certainly a good family-friendly movie for viewers young and old, but those who have enjoyed Disney Animation's offerings in recent years will find plenty to enjoy. With richly detailed animation, exciting action and a compelling story about trust, Raya and the Last Dragon has all the makings of a modern Disney classic.

Cherry is a fairly standard drama that hits the expected beats, but is still elevated by Holland's strong lead performance.

The film has its fair share of intoxicatingly gripping moments and watching Kaluuya as Hampton is visceral and empowering. Unfortunately, it never feels like the story gets out of its own way enough to flourish, nor does it explore the complexities needed to emphasize and humanize the characters in the way that it should.

The Mauritanian is an incredibly powerful, poignant, enraging film, one that is uplifted by an incredibly magnetic lead performance by Tahar Rahim.

It’s fraught with frenetic energy and delightfully charming performances, but Blithe Spirit is not as funny or absurd as it sets out to be.

Flora & Ulysses has all of the right ingredients, but falls short of bringing them all together, leaving the film an uncharismatic and empty shell.

With no buildup, tension, or interesting characters, The Sinners fails in its execution and exploration in the themes it puts forth.

Tonally inconsistent, writer-director J Blakeson takes a big swing and misses with regards to the film’s message. Rosamund Pike gives a fiery, powerhouse performance, but there is something completely missing from I Care a Lot that makes it a hard pill to swallow.

Nomadland might tell an unconventional story, but thanks to Zhao's careful hand and McDormand's performance, it will resonate with all audiences.

Silk Road has the makings of a gripping thriller, but it surprisingly lacks the tension required for it to work.

The film does an outstanding job elevating its horror with a sprinkling of disconcertment, but it takes a wrong turn by offering a muddled message.

The film is overly long, dragging out its story unnecessarily, with Daniels haphazardly shifting focus away from Holiday constantly. The film is unbalanced, generally failing to center on the song driving the story while romanticizing an affair between Holiday and a FBN agent.

Despite its drawbacks the kids will still love it, it's still epic and entertaining for adults, and the movie still manages to say something inspired and meaningful - even if it takes a little longer to do so.

Visceral and uncompromising in its vision, PVT Chat etches a gritty portrait of eroticism in the digital age with great nuance and authenticity.

The World to Come has the ingredients to build a blossoming love story, but the script is thin and far too rigid for the romance to ever fully soar.

To All the Boys: Always and Forever offers a heart-meltingly sweet, warmly cheerful and charmingly hopeful romance that delivers a much-needed breath of relief amidst this cold and bleak winter.

From a bizarre villain to unexpected musical numbers, Barb and Star Go to Vista Del Mar is egregiously bad, but with splashes of occasional humor.

By not giving into what might be expected from a typical immigrant story, Chung has given the material space to breathe on its own, creating a space that can be appreciated by all kinds of people. The cast shines, the story hits home, and Minari stands as a winner.

In Land, actress Robin Wright’s directorial debut, the sad, isolated feelings that come with bereavement saturate the story, but the film has surprisingly very little to say about grief.

Written and directed by Mike Cahill, Bliss has strong ideas about economic inequality and it ambitiously works to pull off being a sci-fi thriller that is layered with social commentary. However, the film falls short of delivering something more compelling and complex, primarily because it's trying to do too much at once.