Even when the laughs evaporate in the final stretch, Gaten Matarazzo and Sean Giambrone know how to breathe comic life into a stoner buddy comedy that’s high on its own shitfaced supply.

Channing Tatum and Kirsten Dunst find the heart but not the soul in a true-life crime drama that should have cut deeper and hurt more.

In this slow but touching biopic, Claire Foy excels as an academic who buries her grief about her father’s death by caring for a predator goshawk, so both can relearn to fly.

Brendan Fraser excels as a failed American actor adrift in Japan. Is his film a shameless soap opera or a far flintier look at human frailty? It’s more like both.

Maika Monroe brings battered heart and soul to a Colleen Hoover soap opera that renders “big” emotions with the small details that make them count.

In this sadly stunted comic thriller, a delightfully depraved Glen Powell must kill seven of his family members to inherit $28 billion. Would you? By the end, the film’s lockstep quality commits the worst crime of all by killing our interest.

See this romcom for the soft side of Kevin James as a jilted groom in Roma and Italian scenery that’s gorgeous in any language. That’s the only way to come out ahead.

This animated tale of a grumpy fish is as bland as blueberries, yet some wonder if sad Mr. Fish can inspire suicidal thoughts. Nah. Positive messaging swims will all these fishes.

It’s Russian history for dummies, but a never better Jude Law paints a portrait of Putin as a young tyrant that rings thrillingly, scarily true, as does Paul Dano as the dangerous puppeteer who trains him.

It sounds pretty cheesy and sometimes it’s a whole cheese wheel, but Hugh Jackman and especially Kate Hudson sing and act their hearts out.

If you need to spot the narcissist lurking behind a friend or lover, this Maria Tomei bonbon may be just instructional romcom you’re looking for. Or maybe not.

There’s good reason to throw stones at Luca Gaudagnino’s teasing provocation about cancel culture. So have at its dawdling, blowhard, philosophical pretensions, but the film—riding on the power source that is Julia Roberts—stubbornly lingers in the memory.

In his final film, James Van der Beek raises the bar on a standard-issue thriller through the sheer force of his talent and magnetism.

Ethan Hawke brings back the mask that launched a thousand screams in a tricky treat of a horror sequel that’s perfect for Halloween

Keanu Reeves is an angel of fun in this bright but tonally broken Aziz Ansari comedy about the hell of living in a gig economy.

Sally Field mothers a talking octopus in a shameless tearjerker that doesn’t shy away from eye-rolling cliches but may just be the empathy booster we all need right now.

Jason Segel and Samara Weaving get laughs, but their murder comedy is total tonal chaos.

A sexy, snappy Eiza Gonzáles steals the show from costars Jake Gyllenhaal and Henry Cavill, but this Guy Ritchie mission impossible is not that bad, just generically, disposably ordinary, a good way to kill time while nodding off on a flyover.

Despite Christian Bale and a wow Jessie Buckley as Frankenstein and his missus, Maggie Gyllenhaal’s big swing at remaking a horror classic is a hot, unholy mess. One caveat: no one who still values artistic risk should dream of missing it.

Kate Winslet makes her directing debut with a script written by her 22-year-old son and acted by A-listers who, try as they might, can’t save it from dying-at-Christmas clichés.

A zowie Zazie Beetz takes a fiery axe to anyone who messes with her sister, but we’ve seen it all before and better. Boring is too small a word to hold the heaps of tedium that come with relentless repetition of kill scenes where no one dies

This intriguing fraction of a biopic rises above a clumsy script and stagnant direction on the strength of watching rock icon Bruce Springsteen, admirably played by Jeremy Allen White, show depression who’s the boss.

In this romcom that evaporates while you’re watching it, a mismatched Halle Bailey and Regé-Jean Page fight a losing battle to outshine the scenery.

Rushed off to Netflix when theaters are readily available, this fitfully competent “Jaws” ripoff will have to do until the real thing comes along. Condolences to leading lady Phoebe Dynevor who deserved better.

Peachy for fans and painful for newbies, this animated joyride is on the run for box-office glory. So what if doesn’t have an ending. It just stops as if totally exhausted. Now that I can relate to.

As killer ape movies go, this one’s a bloody wonder—it’s too bad no one bothered to add plot, character or a reason to care

Maika Monroe plays a drug dealer facing off with her rodeo champ dad Troy Kotsur in a by-the-numbers thriller minus any real thrills. It’s the hints of a better film—fiercer, funnier, more attuned to a woman’s point of view—that nag at you.

Forget anything new. Director Renny Harlin is merely spitpolishing his same old bag of shark tricks. But the dude knows how to deliver assembly line product like nobody’s business.