If you loved Universal’s Mummy but wished it had more Peter Cushing and Christopher Lee, here you go.

This may not be the epic "Power Rangers" reunion some fans may have hoped for, but Mighty Morphin Power Rangers: Once & Always is very much the love letter to the last 30 years of this franchise, where it all began, and where it is going.

There are a few talking heads, including some sincerely powerful stuff from Sly's brother Frank, but Zimny wisely lets Sly be the focus. His control of the narrative might mean the film is narrow in its scope, but by the time the credits roll, like a "Rocky" movie, you'll be begging for a sequel.

Flora & Ulysses is, at its core, a very nice and sweet film. It’s low-key, but frankly, that’s fine. Sometimes, the stakes in life don’t have to get much higher than whether or not two struggling adults can find each other again, and whether or not a child can traverse a world without a strong family unit.

It's a movie that delivers exactly what it promises. You pull up to the drive-thru, you order your food, you get what you pay for. A fine Saturday afternoon if you ask me.

While Osei-Kuffour Jr. is able to conjure up more than a few disturbing moments – everything involving the mysterious twitchy man is great, aided by effective sound design full of rattling bones – Black Box loses steam rather quickly.

Haunting, harrowing, and hypnotic, Eight for Silver is a werewolf story with a lot on its mind.

A Glitch in the Matrix is more than just a conspiracy theory movie: it’s about how we function in a societal system, how we interact with other people, and what happens when we embrace a worldview which seemingly offers answers to things in life that don’t make sense to us. But the movie stumbles over its muddled execution of some of those ideas, and as a result, can’t help but feel like a letdown.

Traditionally, films that are this delightfully raucous, bloody (and I mean BLOODY), and silly are relegated to B-movie schlock (not a bad thing, for the record), but "Abigail" still embraces the excessive and ornate gothic aesthetics of classic horror movies. The result is an old-school vampire movie with modern frisk and flair and an absolute blast of a movie to watch with a crowd.

As far as directorial debuts go, The Rental is a strong start for Franco, who proves here he can take not just one but two different tried-and-true genre formulas and rework them into something neat.

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

Cuckoo is equal parts head-scratcher and mind-blower but so ridiculously audacious that it's impossible not to obsess over.

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

Admittedly, How to Train Your Dragon is not terrible like some of the Disney remakes out there, and it's better than almost all of them, but it's not substantial enough to warrant its existence.

In the end, Copshop is aggressively okay, and that'll probably be more than enough for most viewers. 

The romantic comedy is painfully self-aware but rarely clever, instead falling back on rom-com tropes that were creaky back in the modern Shakespeare adaptation heyday of the '90s.

Sometimes the jokes aren't funny so much as they are vindicating; it's cathartic to see a movie capture all the little insulting ways that low-wage workers are often treated. 

Tearful confessions and big dramatic beats fail when contrasted with the emotions that swell up from the unblemished beauty of the landscape. It ultimately left me cold and feeling as if Land‘s central drama was unable to compete with nature.

It exists in its own little world, blending genres with surprisingly strong results. What starts off seeming like a quirky rom-com quickly morphs into something far more disturbing, and strange.

Avatar: Fire and Ash is a triumph of genre filmmaking, proof that sci-fi/action can be both deliriously daring and thoroughly thrilling. At this point, I can't wait to go back to Pandora.

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

One can't help but note the irony of a film about the pivot from the silent era to the talkies having such a loud, booming start but ending with a muffled thud.

On its own, Peter Pan & Wendy is enjoyable enough. But that too is a low bar, and considering that David Lowery has already made Disney's one truly great remake, it's perhaps logical that he wouldn't hit another home run. It's good that he tries, even if this isn't quite successful enough to clear the fence.

Dog is a little sentimental and travels down well-trodden paths, but its gorgeous execution and charming performances make it the feel-good film we could all use in the depressing doldrums of February.

Fear Street Part 2 also thrives once it really gets going. There’s a certain rough patch at the start that the film thankfully shrugs off, eventually sucking us into its night-dark story of doomed youth. A potential – and potentially questionable – romance that blooms between Ziggy and Nick Goode (Ted Sutherland), the boy destined to grow up and be sheriff, is charming in its clumsiness. A side character like punk rocker counselor Alice (Ryan Simpkins) seems annoying at first, only to blossom into someone we’re actively rooting for. After two films, the real strength of Fear Street is in its characters, not its scares. No one is expendable meat here – but that doesn’t mean they won’t get ground up in the end.

The most impressive feat Black Phone 2 pulls off is finding a way to bring The Grabber back that feels coherent and actually adds to the character. We get some backstory on the child-abductor that comes across as deepening the character rather than just answering questions that no one asked.

It’s an interesting idea on page, but in John and the Hole, it is all a little too opaque to make sense of Sisto’s muted portrait of adolescence.

Onward is a decent, well-paced, well-animated, moderately enjoyable film. It’s got a good message, an emotional third act, and some pleasantly surprising jokes. Onward is…OK. The problem with Onward is that Pixar’s original films are incredible. OK is, simply, just not good enough.