Reality is an immensely nerve-wracking film that grips you from the get-go and never lets up. Like Reality Winner, we're all stuck in that dirty, empty room, wondering when we'll get out, and worrying about what will happen next. 

Glazer's first feature film in ten years is a sick, bleak, and absolutely vital reimagining of the Holocaust drama, one that finds a new way — and possibly a more effective way — to put an important spotlight on the face of atrocities.

Killers of the Flower Moon is a fast, fierce, and unapologetic gut punch that centers the horrific abuse suffered by the Osage nation at the hands of those who were entitled to nothing and thought themselves worthy of everything.

All in all, Indiana Jones and the Dial of Destiny is an action-packed, high-octane super soaker of a film, while at the same time amounting to a beautiful final conquest and farewell to the world's most famous adventurer.

Though it stumbles in parts, Jason Momoa is there to keep the car in drive before he hits the nitro and blows everything to hell. It's over-the-top, outrageous entertainment that is worthy of seeing on the silver screen with the biggest tub of popcorn you can find. BOOM!

While there's enough action (murky action, but action all the same) to keep you at least half-engaged with the material, you might want to spend Mother's Day weekend doing something else instead.

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.

All of this is very silly, but there's nothing wrong with that! In fact, Hypnotic would be a lot better off if it learned to lean into that silliness. Instead, Rodriguez keeps everything very dour, and while he injects some life here and there via action beats (the bank robbery scene is quite well-staged, as are several chase sequences), the filmmaker can never really get "Hypnotic" working.

Hansen-Løve is undoubtedly aided by the soulful performances she draws from her two leading actors. Banerjee, in her first on-screen appearance, both dazzles and delights with an effortless charm. But it's Kolinka, making his third and most substantial collaboration with the director, who leaves the lasting impression.

The Young Wife" is a movie that could not have been made by anyone other than Tayarisha Poe. Thanks to her near-perfect direction and writing, everything about its reminder to embrace love, both inner and outer, signals a deserved shift into auteurism for the director.

Scrambled has razor-sharp wit, with McKendrick driving the film with an energy that is both feisty and vulnerable, reminding one of Portia DeRossi in "Arrested Development," but with a thoughtfulness that evokes "Sex and the City."

And that, perhaps, is the real fatal flaw of "Guardians of the Galaxy Vol. 3." Gunn's first two movies felt different. They stood out from the pack and had their own unique personality. But "Vol. 3" feels like more of the same. I'm not suggesting Gunn and company are phoning it in this time around, but it certainly feels like the magic has faded. Whatever alchemy the filmmaker worked to make the first two "Guardians" movies memorable has evaporated into the ether.

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.

No less than 40 years pass throughout the film, but the immediacy and almost casual flow of time makes it surprisingly easy to attune one's senses to what van Groeningen and Vandermeersch are attempting to communicate.

On paper, Chris Evans and Ana de Armas would seem like a perfect romantic-comedy couple, but their chemistry in this film is nonexistent.

The Pope's Exorcist is by no means a good movie, but there's a modicum of fun to be had from watching Crowe do his thing. And if you have a problem with him, you can take it up with his boss — the Pope!

Here is a film that, like its source material, treats its characters with care and tenderness, establishing an instant and unbreakable bond with the audience that hits home in scene after scene.

There is a great deal missing from Ritchie's film. "The Covenant" is almost aggressive in its complete lack of wartime litigation. While the harrowing nature of a soldier's experience is laid bare, the meaning of the actual, prolonged quagmire of the Afghanistan occupation will be lingering in the back of most audience's minds.

I found myself annoyed that such a fresh new take on Dracula, and from Nic Cage no less, is wasted on such a lousy movie. Nicolas Cage's Dracula deserves a better movie, and so do we.

Carmen is a largely enjoyable outing, fueled by a fresh take on the narrative and two leads with great expressiveness and a lot of on-screen chemistry. Barrera's dancing is truly beautiful, the choreography is inspired, and the gorgeous score pulls it all together.

Despite the film's clear edict to include as many tasteless jokes as possible . . . Quasi possesses a strangely disarming, hangout quality, leaving it feeling ultimately harmless and even a little bit friendly.

Beau is Afraid is big, and weird, and kind of wonderful. There will be those who simply cannot stand the fraught world Aster has created here, and there will be others who are fully on board with what the filmmaker is dishing out. No matter the reaction, this is a film that begs for conversation and analysis and plenty of pondering. And it's more accessible than you might think, despite all the lunacy.

Shinkai is back with another magical teen story in Suzume, which got me in the gut yet again. 

Paint almost gets by on its shaggy dog charm mostly thanks to Wilson, who remains loveable enough to guide us through this world. But the comedy is flat and the drama is dry, and none of it adds up to a pretty picture.

The Super Mario Bros. Movie brings together the many recognizable characters of the franchise, the musical flourishes, the colorful design, and even some replication of familiar gameplay, into a brisk 90-minute package that is as critic-proof as it is largely uninspiring.

This visually and metaphorically commanding film, crafted with precision by Jenkin, urges viewers to look for its answers deep within itself instead of simply giving them away.

The saving grace of Murder Mystery 2 is that Jennifer Aniston and Adam Sandler have a renewed sense of charm, bouncing agreeably off each other as a married couple struggling to revive the unique magic they found in their first adventure.

Furies is a double-barreled adrenaline shot of ladies-first action extravagance that shines a light on Vietnamese genre cinema.