I Saw the TV Glow is both a musing on the way entertainment (and screens in particular) will step in to fill the gaps left by poor emotional regulation and support from those who are supposed to help children grow and thrive to become capable, fully-realized adults and how exclusively escaping into worlds of fiction rather than fighting the very real monsters of the week in your own mind will only hold you back.

If there's any true criticism to be found with In A Violent Nature, it's that the "Friday the 13th" and "Texas Chain Saw Massacre" video games exist, diluting the inventiveness of the first-person perspective a little bit. But for those who've never played those games, In A Violent Nature will feel wholly unique. Fortunately, even if you have played these games, the film is still a hell of a lot of fun.

Traditionally, films that are this delightfully raucous, bloody (and I mean BLOODY), and silly are relegated to B-movie schlock (not a bad thing, for the record), but "Abigail" still embraces the excessive and ornate gothic aesthetics of classic horror movies. The result is an old-school vampire movie with modern frisk and flair and an absolute blast of a movie to watch with a crowd.

Cuckoo is equal parts head-scratcher and mind-blower but so ridiculously audacious that it's impossible not to obsess over.

Bleak, severe, and awesome, "The First Omen" is the best horror movie of the year so far.

Vera Drew is both the unstoppable force and the immovable object, and we should all be so lucky to bear witness to her madness. The only sensible way to live in this world is without rules, and The People's Joker refuses to follow any of them.

"Godzilla x Kong" is infectiously fun, raucous, and, in the 8-year-old sense, awesome. One will not take much away from "Godzilla x Kong," but you'll leave the theater with a big damn fool grin on your face.

Hidden somewhere in Immaculate is a stirring and topical drama about the way male-driven religious institutions claim ownership over women's bodies.

A somewhat ambitious but messy and ultimately unsatisfying sequel, despite packing some decent laughs and a couple of genuinely exhilarating sequences.

It's genuinely funny while also basking in the very believable romance of it all.

As a road trip movie, Civil War is quite good, with some segments proving more enthralling than others. Dunst is the standout among the cast, keeping us anchored through the more episodic elements, but Wagner Moura, Stephen McKinley Henderson, and Cailee Spaeny contribute strong work.

This is a major motion picture built on the hope that audiences will want to see a cast of attractive, charming, interesting actors bounce off each other on screen, trading barbs and dashing looks. There's no franchise-building here, and no ambitions beyond offering the audience primal, pure pleasures. 

It's an action movie for progressive-minded audiences who need some kind of relief in an era of instability and terror as well as an action movie for folks who just want to watch Dev Patel decimate every single person who dares cross his path.

When Mooney is in joke mode, sprinting from gag to gag without room to breathe, Y2K is a great time at the movies: a midnight movie in the truest sense of the word.

Babes would be a stressful film if it wasn't such a funny one, if its leads weren't so charming, their chemistry so lived-in.

Once you squint and look past the Gyllenhaal of it all, there's not much on offer here. The leading man tears through a thin sketch of a story, populated by characters, performances, and even action that feel like placeholders.

Damsel lives and dies by the performance of Elodie and thankfully, Millie Bobby Brown establishes herself as the new Mother of the Dragons. She expertly finds the balance between a terrified woman thrown into an unthinkable circumstance, and a fighter unwilling to give up when things get tough.

For the most part, Ricky Stanicky is an entertaining comedy with enough laughs to keep your attention, but ultimately, it tries too hard to pull at your heartstrings without enough authenticity to back it up.

Granted, the story leaves something to be desired, and it's missing one of the franchise's signature traits, but as someone who was underwhelmed by the trailers teasing Po's return, I walked away feeling adequately entertained.

Spaceman fails to grab our attention and, like Sandler's character, feels adrift. But as the journey towards the Chopra cloud — which Hanuš describes as "the beginning of everything" — continues, the conversations between spaceman and space spider grow warm, thoughtful, and even charming.

As a whole, Lovely, Dark, and Deep starts to feel like a short film (or story) stretched to feature length. I was on board with the movie's various chills, but I wanted something more. 

It's a lightweight, weirdly teen-friendly (but very R-rated) slumber party movie with an upbeat and liberating "be gay, do crime" vibe. It's a queer, hand grenade-shaped squeak toy. 

Dune: Part Two is a rare big, expensive blockbuster with a lot on its mind. Not content with just spectacle (and boy, there is a lot of that), Denis Villeneuve's sequel packs in heavy thoughts on religion, war, revenge, romance, and yes, really big worms. It's not entirely successful, but gosh, you gotta appreciate the attempt.

Madame Web does not provide a crowd-pleasing bombast. This is a pity, as this odd duck makes for a fascinating watch. This may be one of the final films of the superhero renaissance. Enjoy it before it topples over entirely. 

Molli and Max in the Future is the textbook definition of an indie darling that executes well above its obvious production restraints, as unique and boundlessly ingenious a film you'll find in today's media landscape.

It's a hilarious low-low-budget, rough-around-the-edges oddity that makes me very happy, and I hope someday it'll make you feel the same crisp beaver-beatin' joy.

It's as if Diablo Cody and Zelda Williams took Sprouse's "I'm a weirdo" speech from "Riverdale" and turned it into an entire movie to prove the point. For all of its fantastical elements of undead boyfriends and tanning bed magic, there's a genuine message about how ungodly difficult it is to be a teenage girl in all of its forms, but that gallows humor is one of the strongest coping mechanisms to employ.

At the very least, the filmmaker offers up some cool things that we haven't seen in a modern action movie like this, which can be very challenging in the wake of many "Mission: Impossible" and "John Wick" movies. For that, Argylle is worth a trip to the theater.