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.

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

The point of this documentary is not to dig into Birkin's life and oeuvre, the point is the discovery of a mother.

Once you squint and look past the Gyllenhaal of it all, there's not much on offer here. The leading man tears through a thin sketch of a story, populated by characters, performances, and even action that feel like placeholders.

There’s a certain fun to be had in Army of the Dead, but it’s the mindless, ugly fun that you wake up the next day regretting. Come to think of it, it’s kind of like a trip to Las Vegas.

There is such a thing as a propulsive, intelligently crafted, no-holds-barred, violent action masterpiece centered around a seemingly unkillable man whose mastery of weapons is endless. That, of course, is the "John Wick" series. This cannot hope to compete.

As hard as the cast and Taika Waititi try, though, it just doesn't work. "Thor: Ragnarok" felt effortless. "Thor: Love and Thunder" is working very hard, and not getting a lot to show for it.

Hanks carries the entire film on his back, and this is yet another great bit of work from the actor.

Underneath all the jokes and humorous moments, the movie is fundamentally about how important it is to love yourself – and about how something so seemingly simple can sometimes be incredibly difficult.

It takes some smart turns in the finale that modernize old tropes and give familiar beats a refreshing upgrade to relevant (but perhaps insufficient) degrees. The dialogue and situations feel real and authentic, and the performers land the material and have strong cast chemistry. At the same time, much of the movie is enjoyable but feels inescapably familiar.

What a baffling, misguided film.

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.

The film somewhat fizzles out and doesn’t feel like it has a satisfying ending, but in a way, I wonder if that’s intentional. Insert Coin comes to a close suddenly, not unlike the arcade game renaissance of the 1990s. But it does leave you with the hope and inspiration of whatever the next generation of video games holds, even if it’s no longer powered by 25 cents.

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.

Hidden somewhere in Immaculate is a stirring and topical drama about the way male-driven religious institutions claim ownership over women's bodies.

As far as disposable action flicks go, Extraction makes good on its promise of seeing Chris Hemsworth kill a lot of people. Maybe that’s good enough for a direct-to-Netflix release, but wouldn’t it be nice if all of this mayhem actually added up to something in the end?

This is the hilarious hidden gem of the holidays, and it's better than any of the other new releases trying to hit that Christmas sweet spot this season.

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.

Minions: The Rise of Gru will not usher in a new era of animation, nor change the way we treat prequels. What it will do is entertain kids with more Minions shenanigans, a fair number of fart jokes, and references to other characters in the franchise.

Dedicating yourself to revenge is an act of self-punishment that closes you off from a happier life. I admire the sentiment but a messy story that sometimes loses sight of Scarlet herself means it has limited resonance.

It's What's Inside is one of the funniest, most clever, and narratively ambitious movies I've seen in a long while.

An ambitious, complex, and layered look at how the court system in America is virtually designed to keep defendants like Steve from every getting a chance at actual justice.

In spite of the pedigree of White as writer (and yes, it is that Mike White, of "The White Lotus" and "School of Rock"), and Benjamin Renner as director (following up on his very sweet and tender 2014 animated film "Ernest & Celestine"), Migration rarely approaches a level of excitement or creativity that might be hoped for with a big-budget animated feature.

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.

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.

There's plenty of room for silly fluff to momentarily distract us from the nightmares of the real world. But is it really so much to ask for just a little bit more? Must we continually be served flavorless gruel and pretend it's nourishing? "Deadpool & Wolverine" will probably break box office records. The Marvel Cinematic Universe will continue onward, and "Deadpool & Wolverine" just might revitalize it in the eyes of fans. But it shouldn't be unreasonable to ask for something better.

When there is no actual conflict, the film's already low stakes start to feel meaningless, and the characters' bumbling hijinks around town start to feel tiresome. Conflict is necessary to inject urgency into a film, and as a result, Hocus Pocus 2 starts to really flag halfway through, once the shine of nostalgia starts to fade and Midler, Parker, and Najimy start to run out of musical numbers to perform.

On its own, DC League of Super-Pets is a tolerable, painless, sometimes mildly clever summertime experience, but comparing it to other DC animated fare only highlights its more meager aims.