Armageddon Time suffers from an overly long runtime and from hitting the audience in the head with its commentary, but at a time when nostalgia reigns supreme in filmmaking, this is a rare and very welcome interrogation of the past.

When "Final Cut" works, it's mostly because it just repeats what "One Cut of the Dead" did, and as ill-conceived as this film is, the jokes still land. Of course, that only says more about the success of the original film than this one. The problem is that, outside of the French market, it is hard to recommend this movie to anyone.

Chip 'n' Dale: Rescue Rangers is a proudly very daffy and strange movie.

There's a difference between intentionally misleading the audience and cleverly setting up, then subverting, expectations. Ultimately, "Monstrous" does the former, leaning far too heavily on expository dialogue that fundamentally contradicts everything the audience is seeing.

Firestarter isn't offensively bad. It's not likely to make you angry, or have you calling it the worst dang thing you've ever seen. But it is aggressively average, bordering on mediocre. There's nothing fiery here. It's lukewarm at best.

Cruise once referred to the '86 film as "an amusement park ride ... a joy ride [which] shouldn't be looked at beyond that," and for audiences who can watch "Top Gun: Maverick" through that lens and appreciate it as a piece of propulsive action cinema, this could end up being one of the most crowd-pleasing and satisfying movie experiences of the year.

Kids in the Hall: Comedy Punks is an insightful, celebratory, uplifting, and uproarious documentary that celebrates some of the best and brightest comedic talents.

No matter how you end up feeling, you will leave "Men" with questions; questions you'll have to draw your own answers to. There's something exhilarating about a new movie that dares to leave us groping in the dark, wondering where the hell we're going to end up.

Spring Awakening: Those You've Known hits the majority of the marks you'd want it to. It's nostalgic and brimming with warmth, funny and heartbreaking secrets are revealed, and the archival and reunion footage of the show transports you to the emotional peak akin to the kind of highs you might've experienced watching it live, either back then or if you were lucky enough to see the reunion concert in the flesh.

Paired with Danny Elfman's fizzy score, Raimi elevates "Multiverse of Madness" from the bridge-building bit of IP it so transparently is. While he doesn't quite elevate it to the "madness" that the film promises, he does, for a few brief, shining moments, show the kids how those superhero movies could be done.

"A New Era" is two hours of charming, breezy escapism that made me happy to see this ensemble learn to grow beyond the roles they've been given to play. Only time will tell if "Downton Abbey” continues this streak of progress, or further settle into its opulent creature comforts.

An endlessly charming, funny, and delightfully lo-fi British comedy.

"The Mystery of Marilyn Monroe" too often feels like it's merely scratching the surface and not trying to go much deeper. While I understand that the research of Anthony Summers is what helped shape this doc, Summers himself is far too present here, to the point where the documentary begins to feel more about him writing the book than it is about Monroe.

Marvelous and the Black Hole is a satisfying showcase from Tsang, who really draws from her animation background to show these moments of intense emotion from Sammy, but its broad strokes are a little...broad.

Ultimately, writer-director Sigal's issue lies within his script more so than his directorial eye.

The routine genre elements are forgivable blips on a technically gripping journey through one woman's fight for survival in a world whose perils, like ours, are increasingly impossible to maneuver.

The film adaptation of Aaron Blabey's series of kid-friendly graphic novels maintains a welcome visual flair and features a game voice cast while treading extremely familiar ground.

Islands is a poignant and engrossing reminder that you're never too old to start living. It's never too late to develop a lust for life.

It's a solid Friday night spookshow with solid bones and a divisive finisher — harmless horror entertainment that at least strives to be better than ordinary.

It's when the film meets between these two modes — the mythic and the realistic — that it's at its most thrilling.

Ambulance is unlikely to convert those who loathe Michael Bay and all he creates. But if you're on board, you're in for one hell of a ride.

At the end of the day, however, one will walk away satisfied with the characters and moved by a bleak and tragic ending, but left with little to carry in their memory. Ironically, a film about the painful suspicions of the past and the aching nature of memory is largely unmemorable. 

"The Secrets of Dumbledore" has the most competent story yet, even if it's missing some crucial details to properly flesh out new elements of the wizarding world.

The film — an ensemble feature whose premise rests on the challenges of shooting an aggressively bad action movie in the middle of a pandemic — succeeds in being funny.

Morbius is the type of movie that fails to justify its own existence.

This is a sweet, friendly, low-key affair that often feels less like a story and more like a home movie Linklater collected to share with his grandkids.

The Contractor challenges expectations in many ways, it just never goes quite far enough.

There's a goofy sincerity to the movie even as it sends up better movies that came before it (complete with corny needle drops), and it retains that old Hollywood screwball spirit that gives it a timeless feeling. It's nothing new, and lord knows it's nothing groundbreaking, but boy, is it fun.