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

The Good Nurse is strangely flat.

Magazine Dreams will alienate some viewers, but even those who aren't able to get on board with what Bynum is doing will be unable to deny how incredible Jonathan Majors is here. It's the type of unique, highly memorable performance people talk about for years to come.

As a sensory experience, Knocking is stunning. The heightened sounds mixed with a stuffy, collapsing ambiance create an unforgettable experience. Pity that the narrative in the midst of all of this fails to match that power. 

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.

For my money, The Black Phone is more complete and effective than Derrickson's previous horror movie "Sinister" and is the first feature adaptation of Joe Hill's work that demands more big-screen Joe Hill adaptations.

It's a film that never feels neutered or held back, and as such it lingers in the mind for days afterward.

Ride Your Wave may be predictable, but it quickly becomes a charming and heartfelt story about loss and clinging to life, one with realistic and likeable characters that may even teach you something about yourself.

Bleak, severe, and awesome, "The First Omen" is the best horror movie of the year so far.

For audiences curious to know the ins and outs of the early days of MMA fighting, you'd be better served by watching the 2002 documentary. If, however, you're more curious about the people involved, and if you're someone who feels like either a winner or a loser (or, more to the point, both at once) in life's big match, then The Smashing Machine is for you.

The Fantastic Four: First Steps is set in a world that I wouldn't mind living in. Even if there are occasional, ineffable cosmic deities plotting to devour me, and terrifying silver aliens ripping my soul apart with their eyes. "First Steps" is a superhero movie where we're already better. And I love that.

Though Leo is perhaps not the most groundbreaking animated film of the year, its gentle tone and emotion mixed with some standard anarchic gags from the Happy Madison school of comedy work in its favor.

Plus One isn’t a knock-off of one of the greatest rom-coms ever, it’s a deserving successor.

CRSHD has some promising ideas and visually inventive ways of presenting them, but it still feels like a rough draft of a film. The humor lands, and the character dynamics offer a charming backbone for CRSHD, but this coming-of-age comedy could do with some workshopping.

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.

Even a minor stumble or two does little to hold back one of the year's better horror efforts, leaving us to grapple with images that will haunt us long after the credits roll.

Oz Perkins‘s mystical, occult-heavy take on the classic folktale from the Brothers Grimm has so much style, and so many bold ideas, that it seems destined to become a cult classic someday – the type of film people find years from now and ask, “Why the hell haven’t I heard of this before?”

The result is an erotic cataclysm of gnarly kills, an aesthetic to die for, and another powerhouse performance from Mia Goth.

Casablanca Beats drums its ideas loudly and effectively. The result is a boisterous and crowd-pleasing delight, showing a community with deep specificity that nonetheless speaks to the concerns of young people all over the world.

Between strong character work, adept mystery writing, amusingly tongue-in-cheek fourth-wall breaks which broadly work, and swift action sequences, Enola Holmes 2 is by and large a welcome and engaging mystery experience.

Gaia is a dazzling bio-horror excursion.

undertone is so effectively spooky that I found my eyes nervously darting to shadows as I walked to my car after the screening. The best horror movies don't need cheap jumpscares, they just need to make you feel like something dreadful is out there, lurking, waiting to make itself heard.

Confess, Fletch, based on Mcdonald's second novel in the series, entirely misjudges the comedic appeal of its predecessor, transforming a setup of one sardonic man at the center of a hardboiled mystery into a barrage of eccentricities and bits that just sit dead on the screen.

As told through Szumowska’s highly symbolic aesthetic, The Other Lamb makes for a chilling glance at the strange pull that cults exert on their members and how their values imprint themselves on their members in irrevocable ways.

Even if you're not totally on its wavelength, watching Chokri's stylish fable is like panning for gold: It will present you with several nuggets worthy of closer examination.

Elvis is the Baz Luhrmanniest film Baz Luhrmann has made yet, a compilation of his greatest filmmaking hits, all employed for a film as excessive and grandiose as Elvis himself. Though the framing device doesn't always work, Austin Butler's stunning performance, lavish production design, and comic book-like editing make for a movie not unlike one of Elvis' own — full of personality, kind of empty, but undeniably enjoyable.

The feeling persists that something is missing here. That Scott and company are merely lightly touching on things that require deeper exploration. Which brings me back again to that 4-hour director's cut.

Marvelous and the Black Hole is a satisfying showcase from Tsang, who really draws from her animation background to show these moments of intense emotion from Sammy, but its broad strokes are a little...broad.