The film belongs to Del Toro and Threapleton, each of whom steal the film in disparate ways.

If you like your horror bleak, mean, and scary in ways you can't quite articulate, you're in for a wonderfully nasty treat.

We're expected to find the Weeknd's melancholy entertaining. It isn't. Nor is Hurry Up Tomorrow. It's just awful. 

And yet, The Final Reckoning is too messy, too awkward, too clumsy. It somehow feels overlong and inert even as it never slows down.

When the world feels like it's on fire and atrocities are inescapable, there are few outlets for cathartic stress relief quite like a Final Destination movie. We're a culture plagued by existential dread already, so why not have fun shrieking, laughing, and judging people for their dumb decisions without consequence? Watching a film like Final Destination Bloodlines in a theater full of screaming strangers is my kind of community building.

Provides a spoonful of laugh-out-loud moments of sugar from David Harbour to help make the medicine go down. It's a self-aware, serious, action-comedy that never sacrifices story to make its point, and never talks down to the audience even if it has to be a bit more obvious for four-quadrant viewers.

By the time Havoc ended, I felt as exhausted as Hardy's beaten and bruised character. I suppose Evans and company deserve some credit for making an action movie that really leans into the brutality, but there's only so much of that you can put up with before it starts to grow tedious.

The filmmakers have made a movie which, while not being particularly deep, manages to be fresh, engaging, creepy and fun. For a mainstream horror flick adapted from a game, that's a feat in and of itself, but what gives "Until Dawn" extra heft is its meta, existentialist twist on the monster mash, making the film not the best, but the most horror movie of the year.

This is a one-of-a-kind experience that simply doesn't come around very often. Hyperbole or not, I'm willing to bet we'll be talking about "Sinners" for a long time to come.

The film is undeniably at its best when grappling with the push and pull of technology versus old-school espionage.

Hess and his army of screenwriters (only five are credited) have taken the wisest possible route with their adaptation: A Minecraft Movie is a broad, slapstick farce without a hint of seriousness, reverence, or coolness. The most shocking thing? It's not terrible. 

While there may be a few folks out there for whom Hell of a Summer gives them a chill, the majority of horror fans probably won't find themselves too fearful. What Bryk and Wolfhard have here instead is one of the coziest horror movies in recent memory, one which instantly feels charming from the start.

Warfare is downright experimental in its presentation, daring even in how it bucks form and structure. As an experience, it cuts to the bone.

There's a place for brainless, R-rated action movies like this in theaters, and there always will be. But, hopefully, it's not asking too much for one that properly justifies the average moviegoer's time and hard-earned money.

Produced by horror legend Sam Raimi and a remake of the Argentinian film "4x4," your mileage may vary with "Locked," an intimate piece with dedicated performances and a weirdly relatable thematic core, but thrills leaving much to be desired.

Ultimately, Snow White is better than "Beauty and the Beast" and "The Little Mermaid" — by a long shot — but it's not as good as Branagh's "Cinderella" or Burton's "Dumbo." And, sadly, it overall still bears the boring sheen of a corporate mandate. This is another cynical enterprise, tapping into certain nostalgic images in the hopes that we'll pay for the same high we had as children.

There's nothing offensively bad about The Alto Knights ... but you kind of wish there was, because at least that might've made the movie more interesting.

When it comes to Nicolas Cage movies where he fights insurmountable odds while losing his mind, The Surfer is a great time.

Friendship is a delightful, vulnerable, agonizing film, and it's a new career height for Tim Robinson. 

The Electric State is one of the most expensive films ever made, and one can see every dollar on the screen. The robots feel real, and their design, taken from Stålenhag's book, is fitfully unique. But one wonders why so much effort went into a movie that has almost nothing on its mind.

It's a lean, crowd-pleasing ride worth taking. Buckle up for one bad yet wilding entertaining, nail-biter of a date.

It's rare that sequels outdo what came before, but O'Connor manages to do so here. This is pure popcorn entertainment, executed effectively.

If you want to watch a bunch of silly rich people get murdered by a unicorn, this is the film for you. And if you want to watch Jenna Ortega co-lead a horror/comedy slasher movie again, you're gonna have a good time.

Novocaine is a delightful and surprisingly relatable hoot. If too many over-stylized, gleefully immature action movies have been a particular pain in your ass lately, then consider Novocaine your analgesic.

This movie veers in some truly wild directions and it's not quite as polished as its predecessor. At the same time, it feels in line with what came before. It certainly doesn't betray the characters or the world Feig has set up.

Black Bag is a perfect example of all of Soderbergh's strengths and the heights he's capable of reaching throughout this run-and-gun phase of his post-retirement career.

Seven Veils feels like Egoyan struggling under his own expectations, just like Jeanine begins to crumble under hers.

Mickey 17 crystalizes our horrific reality into an existential parable, one that fundamentally understands the hell of working-class existence with the allegorical precision of "The Twilight Zone." It's a story about people finding love, connection, and community under hopeless circumstances, and a rallying cry that we all deserve better conditions for existing.

Action junkies, horror fiends, and romance enthusiasts have seen all of this done before and done better, sure. But it's a rare kind of gem that even attempts to pack all of these disparate elements into the same package. It's an even greater (dare I say pleasant) surprise that the last group will be the one walking away most satisfied by this, when all's said and done.

Rather than adding something fresh and new to give us a reason to reinvest in this universe, the end result is as by-the-numbers as it gets.

The Monkey is a blood-soaked barrel of laughs and grisly kills that never finds an effective way to reconcile either of those.

Love Hurts marks the first leading role for Ke Huy Quan, and he avails himself well enough. He doesn't ever shimmer off the screen, and he doesn't handle the romance elements perfectly, but he possesses an appealing hangdog quality that feels human and relatable. However mediocre the movie around him, one always has the instinct to cheer him on.

Ultimately, how you feel about "Opus" depends on what kind of movie lover you are — if you're the type who, like me, loves to go over films again and again with a fine-tooth comb to mine the layers of theme and subtext, then the movie could be surprisingly rewarding. If you're looking for a purely visceral and emotionally engaging experience, then "Opus" is unquestionably a letdown.

The Wedding Banquet may be the feel-good movie of the year, but that's not to call it a frivolity. It's a film that, once again, demonstrates how all of us, no matter from what background, can relate to each other, and in the era we're currently suffering through, that's a message we could all use more of.

Shanks can clearly blend horror and comedy, keeping things hilarious while never letting the tension diminish, and it's a technique that allows him to play an audience like a fiddle.

The film is a haunting curiosity, a movie that exists on the cusp of both folk horror and cosmic horror without resolving that tension.

Heart Eyes is solid enough to entertain. The jokes land, the leads are great, and the romance storyline is surprisingly sweet.

Kiss of the Spider Woman is a big kiss of a movie, one so genuinely loving that it's hard not to swoon.

In execution, it feels like a neophyte director's confident first turn. Perhaps shabby, but well-meaning, and only occasionally straining against its obviously limited means. 

As intended, "Section 31" is the Michelle Yeoh show, and she wears Georgiou like a spiky, vampy, blood-soaked glove at this point. Either you enjoy watching Yeoh strut and kick and smirk through action scenes, or you have no taste.

Moviegoers often cry out that they want fresh, original films instead of more endless remakes and sequels. Well, here you go. Companion is exactly what you're looking for. Don't miss it.

By the time Wolf Man wraps things up with an ending that's just a bit too neat and tidy, viewers will be left to reflect on the opportunities missed rather than the bold roads taken. Fortunately, even a modest Whannell misfire is well worth a watch, particularly when so much care and effort has been poured into every facet of its construction. There's still plenty of enjoyment to be had here ... as long as you don't expect this monster's bite to match its bark.

Den of Thieves 2 frequently feels less abrasive than the first film; almost kinder. At the same time, there's still a scuzzy, energy drink-infused atmosphere at play that only adds to the charm. This is junk food cinema, and sometimes, that's exactly what you're hungry for.

The outcome is a "Sonic" movie that feels like everything fans love about the games distilled into a film that's fast, flashy, a hell of a lot of fun, and boasts an absolute banger of a soundtrack.

Mufasa will satisfy, but it also feels ultimately useless. Like Disney is once again spinning its wheels, trying to wring billions of dollars out of old ideas while they brainstorm new ones. Fans of "The Lion King" may be slightly moved. At the very least, you'll finally know how Rafiki got his stick.

Watching The Brutalist has the feeling of reading a great, sprawling work of literature; as you near the final pages, you're both thrilled at having made it through the journey while also wishing there were just a few pages more.

For all its heartbreak, for all its pain, Nickel Boys is a staggeringly beautiful film. You don't simply watch it; you experience it. This is a major work of art, and we are lucky to have it.

Sony, still possessing the film rights to Spider-Man, decided to make an interconnected Spider-Man Villain universe, of which "Kraven the Hunter" is the final chapter. Watching Chandor's film, though, one can see that neither the studio nor the filmmakers are interested in starting anything anymore. There is no presumption that fans will be interested in long-form mythmaking, and sequel teases remain light. This allows "Kraven" to be stupid on its own. And, in a weird way, that's a relief. We're free.

A Complete Unknown doesn't break new ground, but it knows how to play the hits. 

As much as The War of the Rohirrim tries its best to live up to the lofty standards set by the original movies, it only really shines when it manages to forget that it's a franchise movie at all.

Adams alone might make this worth a watch, just because it's always a treat to watch her worrk. Let's just hope she returns to better things after this, and soon.

The end result is stunning and scary, full of swooping, swooning, doomed romanticism and moments of pure, unblinking horror.

Kidman's performance is simultaneously vulnerable and feral, yet another tally on the board proving her as one of the greatest to ever do it.

Moana 2 bites off a bit more than it can chew at times, and the pacing is as smooth as it can be for a series that was condensed into a feature film, but it's hard to be bothered by any of the film's shortcomings when "Moana" stories embody resilience, the pursuit of curiosity, community-building, defying gendered expectations, and embracing personal growth.

Worst of all, the film is loooong. It's not just low-energy. It drags. One could listen to Pink Floyd's "Dark Side of the Moon" three and a half times in the same 161 minutes. And perhaps one should. It would be a more edifying musical experience.

Paddington in Peru is ultimately a missed opportunity, but it's also a pleasant, entertaining-enough time.

Gladiator II gets the job done. It doesn't reinvent the wheel, and it doesn't have to. I don't for one second think Scott is setting out here trying to make an absolute masterpiece; he's content to simply make a damn entertaining action pic with an pulpy old school sensibility. Third act machinations aside, Gladiator II ends up being rather simple in its construction, and perhaps that's ultimately its greatest strength.

I came out of "Let There Be Carnage" wanting more Venom and Eddie. I came out of "The Last Dance" content to never see them again. If this really is "The Last Dance," it comes not a moment too soon.

Although it doesn't possess the hard-boiled, shifty-eyed salaciousness of a traditional whodunnit, "Conclave" is certainly in the spirit of a private investigator story.

The Shadow Strays feels more like a step back than a step forward. By the time the mid-credit coda arrived, I wanted less, not more. Still, those craving copious amounts of carnage will find plenty to dig here.

Smile 2 is relentless. It's a non-stop spookshow that just keeps increasing in madness, building towards a grand finale that pretty much absolves the film of any negative issues you might.

Some may be tempted to refer to The Shrouds as Cronenberg playing in a minor key, but that does no justice whatsoever to a chilly, almost shell-shocked drama that derives so much meaning and even poignancy out of its emotional remove. Cronenberg fans, you will not want to miss this one.

Whether this atypical Burroughs adaptation and unconventional love story truly works for you in the end or not, you won't regret getting swept up in the journey.

Crowley may be telling a melodramatic story, but he studiously avoids sentimentality.

Will & Harper is a sweet little road trip comedy, even if the "spontaneous" appearances of famous faces constantly pull the film into a "celebrities, they're just like us!" realm of faux-documentary authenticity.

It is superior in acting, lighting, pacing, and clarity. It's also raw and confrontational in a satisfying way. But it's also a glorified remake more than it is a sequel. "Platform 2" is not an expansion, but a retread, nihilistically sifting through violence and cannibalism to get to a point it repeated over and over. Second verse, same as the first. 

Practically every immaculate shot in Maria is framed as if it were the title character's own theater stage. This makes an apt runway for Angelina Jolie to do her thing and deliver easily her most dialed-in performance of the last decade (or more).

In the end, Emilia Pérez can't help but feel like a half-completed thought experiment, anchored by the performances of a trio of women all but willing this past the finish line.

Eventually, Salem's Lot finds some life in its climax, gleefully unleashing monster mayhem that feels ported over from a much more enjoyable B-movie.

Eventually, Heretic does evolve into something a bit more familiar, shedding the heart-pounding sense of pure wrongness that defines the first hour in favor of more action, violence, and traditional excitement. And it's all very well-executed, frequently very scary and, honestly, probably the right choice for filmmakers who clearly care about their audience.

This is a biopic made by a mad man, filmed in a visual language that defies categorization, with musical numbers that would make Baz Luhrmann dizzy.

This is a great time at the movies, the kind of dark comedy that plays to the crowd and the kind of pseudo-thriller that keeps you guessing as each poor decision made by its lead character introduces a new wrinkle in the ongoing spiral of drama and recklessness.

The Apprentice is a good movie, albeit a difficult one to watch, with stellar performances elevating the proceedings.

Sanders' ability to interpret the material on the page and turn it into this living painting of a film is nothing shy of a wonder.

Pound for pound, segment for segment, death for death, this is everything we could possibly want from a horror anthology.

I'm not saying all movies need to feel this effortless, and deliver such big emotions wrapped in such thoughtful complexity. But I am saying movies like this remind me why I like movies so much in the first place.

I suppose the best thing to say about Apartment 7A is that once it's over, you'll probably immediately want watch the much better Rosemary's Baby and wash the dull memory of this movie away.

This is a movie that sets out on its own dark mission, and accomplishes that mission with a skill that is undeniable.

In Coppola's mind, all that matters is the work, and the act of creating it. We are lucky he returned to make a new movie, and even in its messy, muddled state, we are lucky to have Megalopolis.

The Substance has an impossible-to-miss message about the struggles of women, especially women on constant display in an industry that thrives on rigid beauty standards. But it's also a delightfully farcical romp; an exhilarating, shocking freak show with an absurdist heart. It's the type of movie you won't forget.

If you meet the film halfway, "Never Let Go" becomes enjoyably compelling and eerie. Yes, there are a good amount of scares to be had here, as Aja has only perfected his sense of jumpscare timing as well as his knack for finding collaborators who can conjure up some truly unsettling demonic zombie creatures.

Through it all, My Old Ass never loses sight of the big picture. Park weaves together theme, plot, and emotion through various montages with the skill of much more established filmmakers, knowing precisely when to tap the brakes and let scenes breathe for maximum impact.

Transformers One is the breath of fresh air the franchise has tried to achieve for years, a movie that feels new and unique but also familiar and fitting with the rest of the franchise.

Like any given episode of "SNL," Jason Reitman's "Saturday Night" is not perfect; there are highs and lows, and the cast just might be too big to adequately hit all the finer points in a satisfying way. But the outcome is an ultimately satisfying showbiz romp with equal parts comedy and drama that is full of effervescent life, outstanding performances, and a wealth of laugh-out-loud moments.

Austin Zajur and Siena Agudong make for such a cute high school romance prospect that the movie doesn't feel like a total wash. Kevin Smith is still good at constructing funny dialogue and crafting characters you like to watch.

It completely stands on its own and almost serves as an argument for a franchise starter (please, don't) because the combinations of different couples from different cultures are endless. Those who are willing to roll with the changes are in for a hell of a bonkers treat.

None of this would be as successful without the magnificent work of Coon, Lyonne, and Olsen, who never strike a false note here. Nothing feels staged, everything feels genuine. Here are three great performances that never feel like performances, and that's pretty damn remarkable. 

You won't see anything gory in Red Rooms. Nothing is going to jump out of the dark and make you jolt in your seat. But as the film slowly and methodically burns towards its surprising conclusion, your heart will race along with your mind. Do you want to see something scary? Watch Red Rooms.

This is very likely going to be a crowd pleasing movie, one to hoot and holler about. Beneath all that hooting and hollering, though, lies a psychologically rich tale that I believe will reward multiple viewings.

It feels remarkably honest and true to itself, demonstrating again that taking such a popular character seriously is nothing to laugh at.

Rebel Ridge delivers the goods. Pierre is the film's true weapon, and the movie wouldn't work nearly as well as it does without his cool-as-hell performance. The actor has striking eyes, and Saulnier realizes this, using lots of close-ups of Terry's face as he silently works things out.

Beetlejuice Beetlejuice is a small film, one that is comparable in size and scope to the original. Its greatest ambitions are to funky and freaky and weird, like it wants to make the filmmakers laugh first and hopefully the audience comes along for the ride.

Frequently funny and consistently stylish, Wolfs is a solid and serviceable enough addition to the genre — though one that's perhaps a bit too indebted to the influence of Scorsese. 

While horror fans might not get much out of The Deliverance, it might be worth watching for the performances alone. At the very least, several of the acting choices Glenn Close makes here will burn themselves into your brain and make you forget all about her turn in "Hillbilly Elegy."

The Killer is a pretty cool made-for-streaming action film with solid performances, fun set pieces, plenty of melodrama to go around, and Woo's signature wordplay that may inspire eye-rolls from some but a sensible chuckle from those of us with good taste.

Sanders' The Crow has nothing on its mind, and forgets why we should be sad and frustrated at the death and meaningless violence in the world.

Not everything works — for example, there are multiple moments where characters are firing up cigs with Zippo lighters that seem painfully choreographed to look "cool" — but the film is so energetic and intense that it's hard to not go along for the ride.

Those craving a well-put-together monster movie with creepy creature effects and sturdy set-pieces will probably find plenty to like here. But it shouldn't be controversial to want better results. As I said at the start of this review, there are no bad "Alien" movies. But with Alien: Romulus, there's definitely a disappointing one.