Overall, the details of Blue Beetle are fun, and the characters may inspire a few warm familial smiles, but the whole is frustratingly shabby and rushed.

Tetris is a fantastic look at the story behind the rights to one of the most popular games ever, a movie that shows that video game adaptations (like games themselves) can come in all forms and be great. This is a crowd-pleaser through and through, and much like the game that gives it its title, it is hard to look away once its title card drops.

Awkwardness ends up being the name of the game here, with Eisenberg constructing an intentional cringefest; the type of movie that has you squirming uncomfortably as you're forced to watch oblivious characters make total asses of themselves.

After an opening kill sequence that bucks convention and suggests a much better movie, Scream 6 grows tedious as it attempts to catch us up with the returning characters and introduce new ones.

Emerald Fennell remains a filmmaker to watch, a provocateur who's downright giddy to sit in the muck with you, teeth flashing in a deadly grin. And in Barry Keoghan, she's found a collaborator who understands her nasty sensibilities and digs in up to the hilt.

What The Pod Generation lacks in cohesion it (mostly) makes up for in laughs.

It’s not saying anything deep or groundbreaking about the female experience or the nature of revenge. Birds of Prey is reveling in being as gonzo and stylish as it can be. But when the fights are this thrilling and the humor this absurd, whatever’s underneath the surface doesn’t matter all that much.

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.

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.

Part Brian De Palma flick, part Invasion of the Body Snatchers, part Dracula, and part Stepford Wives, Bad Hair filters its influences through Simien’s hyper-specific passions and unique sensibilities to become a singular horror comedy from a singular filmmaker.

While I would've liked the layout of the house to be better established, No One Will Save You makes the most of its limited locations, proving you can have big thrills and chills in restricted spaces.

There's a goofy sincerity to the movie even as it sends up better movies that came before it (complete with corny needle drops), and it retains that old Hollywood screwball spirit that gives it a timeless feeling. It's nothing new, and lord knows it's nothing groundbreaking, but boy, is it fun.

Paired with Danny Elfman's fizzy score, Raimi elevates "Multiverse of Madness" from the bridge-building bit of IP it so transparently is. While he doesn't quite elevate it to the "madness" that the film promises, he does, for a few brief, shining moments, show the kids how those superhero movies could be done.

When it comes down to it, Freakier Friday is lively, fun, charming, and just plain delightful.

Is it exceptionally groundbreaking? No. But it's fun, and frothy, and clever enough that it makes for an easygoing hour and a half watch.

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. 

Glorious might not save the world, yet it's still a wonderful way to pass the time while humanity as we know it is devoured by threats we'll never comprehend.

The Many Saints of Newark is smart enough to point out that Livia isn't an anomaly in this world — she's just another borderline-sociopath who has found her place among murderous men.

It's a nifty, quick-witted slasher pic, and at this point in this particular franchise, that's more than enough.

Lightyear may not reach the heights of the great sci-fi movies that it pays tribute to, or even the "Toy Story" movies themselves. But it's a visually impressive, escapist riff on the sci-fi epic that, at the very least, might become the favorite movie of some kid, somewhere.

The Whale" stays too intellectual in its exploration of the physical and spiritual dimensions of redemption to and from bodily captivity. This comes at the expense of the director's strengths in the visceral realm. It restricts what could have been a truly great comeback performance from Brendan Fraser into being merely a good one.

Despite its very flawed ending and baggy structure, Stillwater goes against the tide of our expectations and offers us a disarmingly affecting character study, anchored by an exceptional performance by Damon. Not even his bad beard could distract from that.

Song of the Thin Man is a slight improvement. It's got more laughs. And it's got an 11-year-old Dean Stockwell as an amusingly precocious Nick Jr.

The film, directed by Portlandia helmer Bill Benz, is too much of a hodge-podge for its own good.

Tom McCarthy gives us a film that serves for a fun family movie night, complete with important lessons, deadpan humor, and, well, a polar bear.

If there ever was a role that played perfectly to Pascal’s natural charisma, it’s Maxwell Lord.

Three Thousand Years of Longing tells a fantastic and poignant story about storytelling, longing, and love. It's about the art of telling smaller, intimate stories at a time when big stories seem to only be valid. A fairy tale with more in common with "Babe" than "Mad Max," this movie reaffirms George Miller as one of the great magicians of cinema working today.

Jumbo is a ride that might be worth taking once, but don’t be surprised if you walk away from it feeling more than a little disappointed.