From a superhero perspective, Vogt's movie recaptures that sense of primordial awe that many of today's blockbusters have lost touch with, simply by setting themselves in worlds so obviously distant from everyday life. Whatever its impact upon release, The Innocents seems destined to be remembered, and hopefully the industry will find room for more movies just like it.

Operation Mincemeat is a solid movie, the only reasonable reactions to which are mild. A small smile and a nod of approval on one end of the spectrum, a tilt of the head and a dismissive shrug on the other.

In the end, Escape the Field is tolerable at best. It doesn't shatter any expectations, but it won’t be utterly hated if one decides to give it a go. There are more charming and innovative horror-thrillers about escaping a maze, but Escape the Field tries. For a first feature, it is serviceable for a small-budget venture.

It does not reinvent the wheel, but it engages viewers on a visual and cerebral level. There is a precarious balance between the heavy themes of the script and the upbeat nature of this Bad Boys-esque action film, but somehow it sticks the landing.

The convergence of the story of a bereaved mother with a cult-like presence in the new country she calls home does not blend as effortlessly as one would like. The third act proves it cannot. Despite this, however, The Twin makes for a fairly constructive horror that is worth a watch.

Top Gun: Maverick is a rare sequel that is not only better than the original but retroactively makes Top Gun's story altogether deeper.

The film is a combination of great ideas that could have gone a bit further.

Filled with passion and a performance from Anaïs Demoustier that is equal parts energetic and blisteringly self-aware, Anaïs in Love is hilarious and romantic even if its resolution ultimately falters.

The film is a basic thriller with little to offer audiences who enjoy the genre.

There is a very entertaining movie somewhere in The Ravine, but it seems to have been left on the editing room floor.

Along for the Ride captures the magic of young adulthood and first love, delivering a relatable coming of age story with a sweet romance.

The action sequences are fun. Paired with the film’s visual style and horror elements, it fares well enough, though the personal journeys are lacking.

Despite its flaws, it encourages a re-examination of Apartheid South Africa and a closer look at the tiny sparks that lit the flame known as the Free Nelson Mandela campaign and the overall cultural shift against Apartheid.

The synopsis sounds straightforward, but there is a lack of balance from the start, and the film has an ill-mannered approach to telling a sensitive or impactful story about sex trafficking.

First and foremost, this remains a film for the fans. As such, Downton Abbey: A New Era is a triumph. After several tumultuous years, returning to a well-known universe with beloved characters is a balm and anyone who has followed along with the Crawleys will find plenty of enjoyment within the film.

It's good to have the actor, whose diverse filmography is certainly a memorable one, back in an exciting, eccentric big studio film.

Intelligently crafted and delicately performed, We're All Going to the World's Fair is fundamentally a portrait of loneliness, and explores how discovering an online community can alleviate, or exacerbate, a person's feelings of isolation.

The Tale Of King Crab doesn’t keep one's attention at first, but if the audience can make it past the period piece there is a thought-provoking western on the other end.

Those who may be new to the genre or merely want to disengage for a little bit will find merit in Choose or Die. But for bona fide horror fans, the derivativeness and the flatness of the execution is too much to tolerate.

Stuck somewhere between puzzle film and quirky comedy, between imitating David Lynch and parodying him, it draws its audience in with the overtures of a compelling mystery only to leave them stranded in what is fundamentally a failure of tone.

The result is a baffling and confounding mess that is either intended to make audiences laugh or is dead-serious in its pursuit. Whatever the intention, it is up to viewers to decipher what is most true to them.

While the film meanders for a bit and is longer than need be, it maintains a good balance between character dynamics and the thrill of the chase. And with a fantastic cast at its center, audiences will surely be entertained overall.

The film is at its best, visually and narratively, when it is deeply entrenched in metal. There is a visceral impact to the third act which truly hones in on what this film has been lacking from the beginning.

It isn’t sincere or as inspiring as it believes itself to be, but it also understands what its aims are, and that self-awareness is worth noting.

While The Northman has a lot to offer and is quite beautiful and masterful in its execution, there is something missing. The film begins to meander a bit in the middle before getting back on track and the lack of additional character development — anything that would have given the film more depth — prevents The Northman from reaching its full potential.

As it stands, Mundy's earnest but by-the-numbers approach to already lackluster material leaves the movie devoid of any sign of passion or creative spark.

Better Nate Than Ever is full of charm, supportive friendships and familial relationships, and a passionate love of musical theater and these elements work together to create a lovely, entertaining viewing experience.

Though it lacks the same zippy energy as the first film, Sonic the Hedgehog 2 is bolstered by fun new characters and a perfectly wacky Jim Carrey.