Kill is a near-perfect action thriller that's stuck in overdrive.

Against all odds, this is the best movie in the series. How wonderful it is to be surprised.

The result is an erotic cataclysm of gnarly kills, an aesthetic to die for, and another powerhouse performance from Mia Goth.

As a self-contained and satisfying yarn, this initial attempt at original franchise-building leaves a whole lot to be desired. As the most expensive feature-length trailer ever made, "Horizon" sets the stage for a much more interesting sequel where, hopefully, something of import actually happens.

It's disturbing and uncomfortable, but it's certainly never boring. At the very least, "The Wasp" will stick with you long after the credits roll.

The film is so humourless that it becomes tiresome. That might be forgivable if the movie managed to be scary, but not even one or two jump scares are enough to get your heart rate up.

The overstuffed "Despicable Me 4" abandons any pretense of caring about characters or narrative, choosing instead to fit in as many gags, characters, and little stories with as little consequences as they can.

It may not be the best Lanthimos, but it's certainly the most Lanthimos.

Sometimes you watch a film and know the moment the credits roll that you've witnessed something special, one that will become a beloved favorite and be passed down for years to come. The Imaginary is that film for 2024, a breathtaking feat of animation with a powerful story that lends it to being a generational classic in the making.

Jazzy can be called many things — a slice-of-life rumination on the things we take for granted, a coming-of-age marvel — but, at its core, it's the simplest and most childlike of statements that echo far beyond the movie's pitch-perfect ending.

Inside Out 2 may not reach the emotional highs of the first film, but don't be surprised when it reduces you into a sobbing mess at the end.

Even a minor stumble or two does little to hold back one of the year's better horror efforts, leaving us to grapple with images that will haunt us long after the credits roll.

Sacramento is film that knows exactly how to transcend the sum of its parts.

After it's over, you won't soon forget what you've seen and heard. Even if you try, it'll come back — whether in your fantasies, your nightmares, or both.

Those looking for the next "The Sixth Sense" will inevitably come away disappointed (though, contrary to popular belief, that wasn't M. Night's actual debut film either). But as a bold announcement that the next evolution of the Shyamalan name is upon us, Ishana leaves plenty of reason to believe that the best is still ahead of us.

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.

It's all just too much for any of us to live up to, and yet for Riley, it's all she's ever known. Watching her find the balance is riveting, and a testament to both D.W. Waterson's directorial eye and Devery Jacobs' immense talent.

Solo celebrates love within the queer community, and it does so beautifully. But what's even lovelier about Solo is that it's a film about finding that love within yourself first.

Hit Man is light enough to be enjoyable, and Powell and Arjona really make things pop. However, Hit Man is also kind of forgettable, and often uninspired. The story is high concept, the execution is lacking.

This is a frequently charming documentary, but it sprints through Henson's life like we're speed-reading his Wikipedia page. I wanted more.

On the positive side, Cailey Fleming makes for a compelling young lead with a touching performance.

The Strangers didn't need these horror tropes to become a sensation, so it's very odd to see them shoehorned into this new trilogy.

Not only does it stand on its own as a masterful action-adventure blockbuster, but it also exemplifies Miller's thesis as a whole: that survival "in extremis" reveals the true essence of a person. "Fury Road" is an even better movie because of "Furiosa," and George Miller has gifted the world with his magnum opus. Witness him.

The film may end on a bleak note, but there's some levity mixed into the very batter.

As a movie, Unfrosted is weak. As a delivery system for a barrage of funny, silly jokes, it's part of a nutritious breakfast.

Butterfly in the Sky is a heartfelt, beautiful celebration of one of the most influential educational children's programs to grace our television, but it also comes with a point to make.

The Coffee Table is one of the most unique experiences you can have in a movie, a torturous dark comedy with a fantastic ensemble, a great eye for visuals that maximize the emotional gut punch, and a script that ties you down to a chair as you go through the nine circles of hell, laughing like a maniac along the way.

Snyder once again displays his usual knack for crafting the occasional breathtaking visual and colorful splash page — a kiss silhouetted by the Veldt equivalent of magic hour, a spaceship foregrounded by an eclipsing star, and a stunning tableau of lasers crisscrossing in the heat of battle are memorable highlights — but his insistence on serving as his own director of photography continues to hold him back at every turn.