Whether talking to himself or talking at his audience as if delivering wisdom deserving of an inscription on stone tablets, Iñárritu has nothing new or interesting to say. He's established he can move a camera with astonishing fluidity as well as blur fantasy and reality seamlessly. Now what? "Bardo" is a film high on its own supply yet low on any sense of actual intrigue or intuition.

There is something about the humanity of this specific type of dread that seeps into your bones and hangs on for dear life. It’s the type of horror that taps into the fears we’re either too afraid to articulate, or would rather keep to ourselves lest we be judged.

Not only are "Free Guy" director Shawn Levy and star Ryan Reynolds reuniting to send characters back in time to save the world, but the movie itself is like a time machine, transporting you back to a period in your life when a trip to the movie theater or the video store was your ticket to a world of yesterday, tomorrow, and fantasy.

The Sacrifice Game is cool, calm, and collected despite bringing so many subgenres to the party, achieving tonal unity that should please crowds and leave them craving whatever comes next for Wexler and company.

Hellraiser was in bad shape, and what Bruckner has done here is lift the series out of the gutter to give it a touch of old-school charm. But I know he can do better, and I just wish this revival was more of an icky, gooey success rather than a moderately okay horror pic.

Using the framework of territory as well-worn as "Bride of Frankenstein" (which, to be fair, was pretty subversive for its time) to launch such a visually sumptuous, unapologetically bold story of love, graphic violence, and rage has to count for something. At a time when movie studios taking big risks and big swings feels more unlikely than ever, "The Bride!" is willing to charge headfirst into intentional audacity.

If you’re looking for less fright and more fun as you tick down the Halloween season, or if you just want to see John Carpenter tell terrible puns while forcing severed heads to make-out, Body Bags is for you.

Don't Make Me Go is at its strongest when Cho and Isaac are onscreen together, reflecting back the kind of tense, but loving, father-daughter dynamic which is so lovingly familiar and relatable to many of us.

This movie veers in some truly wild directions and it's not quite as polished as its predecessor. At the same time, it feels in line with what came before. It certainly doesn't betray the characters or the world Feig has set up.

Despite its beasties, "Keeper" is not a monster movie, but is instead a scathing look at an idea inherent in human relationships, particularly romantic ones.

Beast is no great shakes, but it's also a rare enough summer movie, in that it knows its limits, it delivers on its specific promises, and it doesn't belabor the point.

Those craving some gloomy, unforgiving post-apocalyptic drama might get a kick out of what's on display here. Everyone else might want to scurry away. You know, like a crab in the dark.

Whatever the flaws of The Conjuring series as a whole, "Last Rites" feels like a worthy conclusion.

Though you can see its twists coming from a mile away, Caine and Plaza's oddball dynamic and Roessler's visually stimulating direction makes "Best Sellers" a movie that's diverting enough to cozy up with.

Spiderhead is a movie that defies conventional genre labels, and while Kosinski isn't always successful in balancing the various elements, I have to admit: this is one hell of a ride.

In fact, “very dumb and very enchanting” could sum up Zack Snyder’s Justice League as a whole. There was never a single moment where I bought the story Snyder was selling, but I did enjoy his attempt to create a superhero movie that rises above the din.

Green’s humanistic stamp is evident when Wahlberg expresses a soulful sentiment or denunciation of narrow-minded thinking, yet there’s little for any director to do when faced with such an untidy script.

Granted, the story leaves something to be desired, and it's missing one of the franchise's signature traits, but as someone who was underwhelmed by the trailers teasing Po's return, I walked away feeling adequately entertained.

As much as The War of the Rohirrim tries its best to live up to the lofty standards set by the original movies, it only really shines when it manages to forget that it's a franchise movie at all.

While competently performed — Liu in particular is exceptional, lending a fraught likability to Darby; Haysbert exudes a natural warmth; and Dickey gives a good frayed performance despite a disappointing characterization — and decently directed, it feels like there's something missing from No Exit.

Smith, Lawrence, Adil & Bilall keep Mike and Marcus winningly human. They're adult men who suffer from heart attacks and panic attacks as much as they leap over cars and make impossible shots with their pistols. That special, magic mixture of grounded heart with over-the-top action and comedy is what makes a "Bad Boys" film, and make no mistake: "Ride or Die" is not only a great "Bad Boys" film, it's also a top-tier action comedy.

As a whole, House of Darkness is a very mixed bag of a film. The script shifts from nuanced to blunt depending on what minute you're watching, but the central performances add a layer of complexity that's often worth watching.

Though I had a feeling Strays could be special, I'm still pretty floored by just how hilarious it is. Perrault's script finds an excellent balance of wince-worthy humor and genuine heart, and the voice acting is more than spirited enough to make up for the inevitable issues with trying to make animals emote like humans.

Assayas becomes so subservient to the sheer volume of events and information he must bring to life that the film completely subsumes any sense of personal style or voice.

There’s something here, beneath the glassy-eyed performances and the Instagram aesthetics, about class and privilege and the evils of men — and you could even make a case for False Positive being yet another effective display of gaslighting as horror — but any actual messages are too vague to parse.

The original "M3GAN" was a drag show. "M3GAN 2.0" is a drag show where a straight bachelorette hijacks the VIP table. But since she tips well, is a respectful ally, and has a non-ironic appreciation for "Above the Law," she can stay.

The film tastes like the cinematic equivalent of Clooney's tequila brand Casamigos. That is to say, The Boys in the Boat goes down smoothly, if somewhat unremarkably.

David Coggeshall's script has more than a few tricks up its sleeve, including some jaw-dropping twists that I will confess I did not see coming. It makes sense — the first film had a jaw-dropping twist too, after all. The twist feels fresh and exciting here, and changes the entire film in a way that's wickedly enjoyable.