It works as a loving homage to the era of slap-dash, go-for-broke ’80s horror, but it ultimately adds nothing to the conversation.

Butterfly in the Sky is a heartfelt, beautiful celebration of one of the most influential educational children's programs to grace our television, but it also comes with a point to make.

Yes, "Evil Dead Rise" is the most "Evil Dead" movie, from the mind-melting body horror to the outrageous creature design to the darkly comedic spring in its step. Here's a movie that invites you to treat the decimation of a family unit by demonic forces like a big ol' party. There is a select portion of the human population who will find that reprehensible. The rest of us freaks can just crack open the cursed book, read the cursed words, and enjoy the cursed ride.

The movie's direction is whip-smart and gives the film a great paranoid tone, constantly whipping us back and forth between characters and through rooms in time with a pulsing score. The film plays with light in a way that also aids in elevating and unnerving the audience — you're always wondering what's around the corner, and when the movie's "monster" will show its face.

Willem Dafoe isn’t delivering one of his all-time performances, but he’s also not phoning it in. And these are, truly, good dogs. Togo is content in showing you those good dogs, and not much else. It’s a decent enough way to spend two hours, but only just.

It's a handsomely constructed, often addictive documentary – but it's also repeating the same story we've been told again and again.

No other artform could quite present such a collision of time, place, idea and emotion, and it’s clear that Nolan’s pure intent is to give us the utmost of what this medium can uniquely provide. At its best this is a ride that manages to be viscerally thrilling while still being emotionally and intellectually engaging, all in ways that are truly, uniquely cinematic. In other words, say what you will about the tenets of Tenet, at least it has an ethos.

Even for those who aren't quite warm to the art style of "One Piece" (ie, yours truly), the film pummels you with so much color, so much style, so much Looney Tunes-style madness, that you can't help but be a little impressed.

It's the perfect blend of haunt and humor, and no matter how many years go by, it keeps us laughing — and screaming.

Wendell & Wild is a triumph — in terms of animation, of representation, and of being very, very fun to watch.

As haphazard and messy as The Mortuary Collection is, its bloody, ripped-out heart is in the right place.

A mesmerizing, powerful glimpse at the irresistible siren call of the deep and a somber record of the human cost of pushing boundaries.

Gregg delivers an intoxicating and impressive directorial debut, so it will be enjoyable to witness what she does next. Here Before is a harrowing depiction of motherhood with all of its loving and painful experiences.

It's disturbing and uncomfortable, but it's certainly never boring. At the very least, "The Wasp" will stick with you long after the credits roll.

Boyz In The Wood is the hippest, wildest, most energetic genre blowout to come from the UK since Attack The Block.

This is a frequently charming documentary, but it sprints through Henson's life like we're speed-reading his Wikipedia page. I wanted more.

Despite its many twists, The Outfit is a fairly straightforward thriller, buoyed by its sharp narrative turns and a quietly subversive Rylance.

Even if its archetypes might feel overly familiar, the formula works for a reason, and when anything is executed with such pure-hearted joy and affection for its characters, you can't help but smile.

Sacramento is film that knows exactly how to transcend the sum of its parts.

Like all classic underdog stories, director Peter Nicks' Stephen Curry: Underrated is about determination. But it's also about second chances, and how believing in and supporting someone in their lowest moments can have life-changing consequences.

Without the pandemic, everything here would seem a tad fantastical. Now, we can't help but draw sometimes painful connections. Perhaps it'll hit too close to home. After all, the film makes it clear that there's only so long a person can remain trapped before they start getting desperate.

Sometimes you want to sink your teeth into a gourmet meal, and sometimes you want junk food. Stylish, entertaining junk food. And that's what this is. So dig in.

The sum of its parts, including realistic performances and solid writing, makes it more than a great trans film – it's an overall great movie, regardless of the subject matter. Still, in a time where trans people's humanity is cruelly questioned and threatened, trans artists making art celebrating their own existence are more welcome than ever.

There's real skill and artistry smiling out at us here. Too bad it's buried under so many secondhand scenarios.

Borat Subsequent Moviefilm is easily the funniest movie of 2020. That’s not exactly difficult in a year when there are barely any new comedies to challenge it for the title, but even in a year with stacked comedies, I’m confident this sequel would undeniably come out on top of the pack.

It's a reminder of when kids movies were about more than farts and wise-cracking animals, and its visuals retain their power to unsettle and unnerve.

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.

If there's any true criticism to be found with In A Violent Nature, it's that the "Friday the 13th" and "Texas Chain Saw Massacre" video games exist, diluting the inventiveness of the first-person perspective a little bit. But for those who've never played those games, In A Violent Nature will feel wholly unique. Fortunately, even if you have played these games, the film is still a hell of a lot of fun.