I left 28 Years Later nervous about what might come next. After The Bone Temple, I'm thrilled at the prospect of where this story could go. That's what I call progress.

In terms of cheap, late-night, exploitation flick fun, it satisfies.

Greenland 2 still feels like a silly disaster pic at times. But it's a cut above the rest, mostly because it's less interested in grand spectacle and more focused on everyday people just trying to make it through another damn day. We can all relate to that.

Anaconda taps into a sweet spot that's just edgy enough to make adults laugh and just family friendly enough to let kids have a good time with their parents too. It's hilarious, harmless, and puts a fun spin on a familiar formula, even if the snake still looks fake as hell.

It cannot be overstated how integral Arnett and Dern are to making this movie work. It's deceptively simple in its presentation, but it couldn't be a more complex tale of a crumbling marriage and two people struggling to keep their lives together for the sake of their kids.

If you hand Paul Feig a good script, he becomes a better director. With "The Housemaid," he doesn't just explore his characters well, but wisely delves into themes of class. The dishonesty of the rich dangles over "The Housemaid," pointing out how wealth is a moral trap. It's alluring and dangerous. Wealth is practically a living creature. It seems to be dazzling and charming and seductive, but hides its true intentions, fangs secretly in its otherwise perfect smile.

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.

There is a bittersweetness to be seen in "Ella McCay," as the movie openly wonders whether hope in our political system is as outdated as everything else. This theme may be fully intentional or it may be coincidental, yet it feels heartfelt in either case.

It's a shame that Five Nights at Freddy's 2 is such a bloated mess, because it has all of the elements to be a truly special gateway horror film franchise. The new animatronics are genuinely jaw-dropping, Megan Fox voicing Chica is a real delight, the jump scares are effective, the Easter eggs are well-placed, and for a brief moment, when we finally get Mike in the security office (essentially bringing the video game into beat-by-beat live action), the movie absolutely soars. But Cawthon's script is a disaster, and it's one that I cannot in good conscience defend, even as someone who shockingly could make sense of it, having consumed hours of fan theories over the years.

This is unquestionably the best performance of Timothée Chalamet's career, and Marty Supreme is one of the best movies of the year. I can't wait to watch it again.

Some might wish the filmmaker had avoided current politics at all, but the "Knives Out" films are very much a reflection of our modern times, and Johnson clearly has an uncomfortable but important message he's trying to preach: faith and belief are good things ... until someone starts using them the wrong way.

Mescal is quite good and tender in these final moments, as Will grapples with his grief. But it is Buckley who remains the shining beacon that keeps "Hamnet" alive.

Zootopia 2 may be the gateway to teach young viewers to question who sets the rules, and be inspired to break those rules if it means doing what's right. Zootopia 2 may not be as politically biting as something like "BEASTARS," but if you need the Mouse to validate your politics, you don't actually have politics.

There are certain movies that grab you from the jump, and Train Dreams is one of them — as the film began its journey, I felt instantly connected to it; engrossed, near hypnotized. I didn't want it to end.

Oh, and if you aren't sold on Jonathan Bailey being selected as People's Sexiest Man Alive for 2025, the way he yearns while performing "As Long as You're Mine" will fix that for you.

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.

The Carpenter's Son might just be creepy enough to work for you even if you've managed to go your whole life without religion or faith. But I imagine it works even better if you've spent some time in church.

For all his skills, Wright seemingly can't pin down what he wants "The Running Man" to be. The action isn't very exciting, the satire is unoriginal, and the over-reliance on weird product placement (both Liquid Death and Monster Energy get distracting shout-outs here) make the entire picture feel manufactured. I had high hopes that Wright could get "The Running Man" across the finish line, but the film stumbles right out of the gate.

The film lives and dies with Lawrence, who's fearless performance here reminds us why she became so acclaimed to begin with. Let's hope we start seeing more of her again now that she's back.

By far the funniest, most heartfelt, and boldest "Predator" movie of them all, "Badlands" etches its place in franchise history — right alongside the classic that started it all and the three worthy follow-ups that Trachtenberg has delivered so far. Let's hope there are many more to come.

This is ultimately a worthwhile musician biopic if only for Jeremy Allen White's thoughtful, tortured performance. He's so damn good playing Bruce Springsteen that you more or less want to forgive the movie its flaws.

This is a truly beautiful film. But these visuals wouldn't be nearly as effective if del Toro had neglected the emotional heft of the story. Thankfully, he has Elordi to do a lot of the heavy lifting.

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 sick and twisted enough to stick with you, and the closing moments are particularly delightful (in a bleak sort of way). I just wish it all added up to a little bit more.

Jared Leto also proves to be a less-than-stellar leading man.

Anemone does a capable job of building up the mystery at its heart, waiting and waiting until the pressure builds before finally giving both audiences and its characters a release valve — primarily through yet another tour-de-force monologue that Daniel Day-Lewis makes a meal out of, as he's done many a time before.

Good Boy may not exactly reinvent the haunted house subgenre, but it proves you can still teach an old dog new tricks.

A House of Dynamite delivers on its promise of creating a gripping, well-crafted, anxiety-inducing thriller that sticks with you.