I don't know if I could rightfully say that this is the best "V/H/S" movie ever. "V/H/S/2" would have something to say about that. But it absolutely continues the hot streak the series has been on. If they continue to be this good, the franchise could run forever and I'd be happy about it.

For audiences curious to know the ins and outs of the early days of MMA fighting, you'd be better served by watching the 2002 documentary. If, however, you're more curious about the people involved, and if you're someone who feels like either a winner or a loser (or, more to the point, both at once) in life's big match, then The Smashing Machine is for you.

It's an improvement simply because this trilogy started off pretty badly, but nevertheless an uninspiring survival horror with repetitive set pieces, baffling character choices, and a mythology that feels like it's erasing the very reason his franchise exists in the first place.

The most impressive feat Black Phone 2 pulls off is finding a way to bring The Grabber back that feels coherent and actually adds to the character. We get some backstory on the child-abductor that comes across as deepening the character rather than just answering questions that no one asked.

Poor conclusion aside, Him clearly indicates that Justin Tipping is a filmmaker to watch, especially if he wants to stick around in the horror genre. Best of all, though, it serves as a wonderful showcase for Marlon Wayans, who has never really been as good as he is here, turning in a performance that's both incredibly fun and undeniably unsettling. I just wish the rest of the movie could match his energy.

This film frequently feels like a powder keg ready to go off...And yet, Anderson also keeps the film consistently fun and funny. Nearly everything DiCaprio is doing here is hilarious.

It's not that big, it's hardly bold, and it's only beautiful on its surface. It could have been a journey.

Sometimes the jokes aren't funny so much as they are vindicating; it's cathartic to see a movie capture all the little insulting ways that low-wage workers are often treated. 

Whenever the film was on the verge of losing me, O'Brien's steady, remarkable performance brought me back. He really is that good here, and honestly, that might just be enough.

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

The Long Walk is an emotionally obliterating all-time great Stephen King adaptation, and undoubtedly one of the best films of 2025.

Sometimes, you just want to watch a handsome guy try to get out of trouble while taking care of an ornery, fluffy cat. We could use more modern movies like Caught Stealing.

The Roses is the kind of movie you should be seeing with a crowd, even if it doesn't seem to demand a big screen experience. See it with your parents. See it with your significant other. Just see it.

The star of Eenie Meanie and the reason to see it — other than those car crashes and flips, that is — is Weaving, and she absolutely is the most valuable player in the film.

If you've stuck with the "Hell House LLC" franchise this long, you might be interested in the answers "Lineage" provides. Whatever the flaws in his design, Cognetti deserves credit for trying to expand on such a simple idea with such a modest budget. And there are some moments here — mostly involving those damn clowns — that invoke the right amount of dread.

Whatever the flaws in Lee's remake design, Highest 2 Lowest rises above its issues thanks to the filmmaker's inherent skill and Washington's unbeatable charisma.

Will Nobody 2 set hearts aflame? No. If this had been the first "Nobody," no one would have been clamoring for a sequel. But it is a glorious Saturday matinée, a brisk trifle for the waning days of summer. It's the kind of movie that you'll remember better for the friends you saw it with than the movie itself. And that can be one of cinema's most important functions.

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

The Naked Gun is one of the most consistently and even exhaustingly funny movies in a long time, the kind of outrageous, outlandish comedy that multiplexes have been missing for years. It's truly a revelation to have a movie where the laughs come so fast and furious.

A wonderful mixture of bad vibes and macabre fun, Weapons is one of the best horror movies of the year, and further confirmation that writer-director Zach Cregger is one of the most exciting voices in the genre right now.

Happy Gilmore 2 is a poor excuse for nostalgic comedy, and you'd have more fun getting a colonoscopy with a rake.

The Fantastic Four: First Steps is set in a world that I wouldn't mind living in. Even if there are occasional, ineffable cosmic deities plotting to devour me, and terrifying silver aliens ripping my soul apart with their eyes. "First Steps" is a superhero movie where we're already better. And I love that.

If you're on the fence at all, there is a mid-credits sequence that truly leaves the mid-credits made mandatory by the Marvel Cinematic Universe dead in the dirt and is so damn good that it completely recontextualizes the tone of the movie that came before.

Unapologetically silly, disarmingly earnest, and intentionally corny, Gunn's movie is entertaining, fast-paced, and, most important of all, fun.

It's a film that never feels neutered or held back, and as such it lingers in the mind for days afterward.

To his credit, Edwards immediately injects "Rebirth" with a sense of stakes and tension that the entirety of the previous trilogy struggled to depict. But every time the plot kicks in again and writer David Koepp's script goes through the motions of a standard "Jurassic" movie, those dizzying peaks soon begin to flatten out into overgrown valleys.

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 ending is a massive disappointment, but it can't undo everything that came before it. Boyle and his team have conjured up a kind of sensory overload — the blend of violence, mixed-media, and a frequently jarring soundtrack swirl together with feverish effect. "28 Years Later" is both scary and touching, and that's not easy to achieve. It's impressive, effective, and memorable. But someone should have told Boyle to nix that finale.