An odyssey that—weird characterizations notwithstanding—is tiresomely unexceptional.

Cloud is a portrait of merciless 21st-century commerce and social cruelty that’s filtered through various genre lenses.

Rife with Trump-era parallels that only augment its global relevance, it’s a warning about those who seek power by claiming holy authority.

A would-be franchise re-starter that resembles a Saturday morning cartoon come to overstuffed, helter-skelter life.

A globetrotting action comedy whose primary selling point is the chemistry of headliners (and The Suicide Squad castmates) Idris Elba and John Cena.

Even the least violent passages of this follow-up are a tedious drag, courtesy of a story that asks nothing of its lead Charlize Theron and her underwhelming co-stars except endless, enervating moping.

The underwhelming result is similar to its signature beasts: a handsome clone that serves no purpose except to line its creators’ pockets.

Switching genres in a futile effort to justify the series’ continued existence, this misbegotten creation is a leaden and aimless bit of cinematic malware—not to mention the most convoluted 2025 theatrical release to date.

A gripping, unnerving, and altogether thrilling saga that both continues its predecessors’ illustrious legacy and initiates what’s shaping up to be a promising new horror trilogy.

An old-school Jerry Bruckheimer-produced spectacular, albeit one that never deviates from a familiar summer blockbuster course and, consequently, fails to truly kick into adrenalized overdrive.

[Song’s] sophomore effort embraces a lighthearted rom-com template and then plays its material inaptly seriously—making it the cinematic equivalent of a sugary soda gone terribly flat.

It’s not improbability that dooms this Al Pacino-headlined genre throwaway but a crushing lack of originality and a form that makes its clichés even harder to swallow.

Sinister even when it’s slyly winking at its audience, it’s a satisfying meal of tasty horror cheese.

With an unhinged Sally Hawkins spearheading its mayhem, this sinister saga firmly establishes the filmmakers’ place near the head of the contemporary horror class.

Prescient about the dangers posed by AI and, more pressingly, the cutthroat, avaricious, and egotistical madmen who wield it, the film is an incisive portrait of 21st-century villainy, if ultimately a satire that can’t quite locate the funny in the horror.”

Cartoonishly gory and drearily unoriginal and predictable, it’s a collection of tired devices and shout-outs that plays like training wheels slasher cinema.

Merely a cheeky pantomime rather than an actual adventure in which one might get swept up.

It’s jovial, zany, and sweet, and it recreates its adorable title alien via CGI (and a Sanders voice performance) with pitch-perfect accuracy.

Threapleton is so good in part because you can see the conflict play out on her face, even as she delivers Anderson’s idiosyncratic dialogue with rhythmic perfection. She is also just fantastically cool, rocking a habit like a Met Gala look.

While you ponder the tragedy of what you just witnessed, you are left stunned by how talented Dickinson and Dillane are. It’s the kind of work that makes you excited to see what they do next.

A feature-length ego-stroke of monumental hubris that instantly assumes pole position in the race for year’s worst movie.

Lipovsky and Stein elicit not a single solid performance from their cast, and their tale’s twists are illogical even by the material’s established guidelines.

When it kicks into gear in its second half, it provides the over-the-top thrills that fans have come to expect, and which are guaranteed to leave their hearts in their throats.

A delightfully zonked marital satire that lurches in various demented directions.

Come for the healthy servings of capuzzelle, zeppole, and scungilli, but prepare to choke on the stale and squishy platitudes about family and tradition.

A mesmerizing film about the sweep and swirl of life, love, and the relationship between yesterday and today.

[Its] staginess is offset by their blistering investigation of morality, manipulation, individual and social responsibility, and masculine power.

If its fondness for stock formulas and scares means that it’s not shocking, it also knows how to play the hits—and, of course, to deliver on its promise of killer clowns in cornfields.