Two years after the release of “Orient Express,” “Knives Out” reinvented the all-star murder mystery in a fun and refreshing fashion, and Branagh’s latest just seems stale in comparison, with no new life in this “Death.”

With “Tragedy of Macbeth,” something wicked this way comes – something familiar to anyone who remembers high school English classes but also at times a darkly enchanting delight.

Clearly far from the worst the franchise has offered (sorry, “Scream 3”) and not quite to the level of the late Wes Craven's innovative 1996 original, Ghostface’s latest slice-and-dice through Woodsboro checks all the appropriate boxes though lacks some of the quirky fun that marked previous entries.

The new "Matrix" tries to reprogram a beloved piece of cinema. However, it’s quite a few fixes short of a full upgrade.

Even though there are a bunch of interesting personalities (like Ron Perlman’s strongman Bruno), Nightmare Alley lacks the human connections that not only made del Toro’s last effort, best picture winner The Shape of Water, so entrancing but also populate the 1947 adaptation of Gresham’s book.

Director Jon Watts’ third Spidey film is a rousing entry that doubles as a love letter to the comic-book character, a film very much about second chances and a cleverly crafted reminder of that famous adage: “With great power comes great responsibility.”

While it lacks a strong overall narrative focus, "Ricardos" makes the most of a strong supporting cast and Sorkin’s excellent, banter-filled script.

With outstanding performances from newcomer Rachel Zegler and Ariana DeBose, Spielberg’s take doesn't stray too far from the original 1957 “Romeo & Juliet”-inspired Broadway musical or the 1961 best picture winning-film, but is rather a more authentic, dynamic and thoughtful revamp.

The period drama The Power of the Dog is a picturesque, enthralling exploration of male ego and toxic masculinity, crafted by an extremely talented woman and offering enough nuanced bite to keep it interesting till the very end.

With Licorice Pizza, Anderson delivers a warm tasty slice of adolescence as well as two fresh-faced youngsters that will satisfy cinephiles for years to come.

But be warned, fellow best actress contenders: The power of Gaga is undeniable as she rules House of Gucci with powerful panache and addictive swagger.

Smith brings passion and stubbornness to Richard, a controversial figure in some corners and a devoted dad in others. The movie itself is a rousing if familiar sports drama that takes care of the surface-level narrative but doesn’t delve deeply enough into the meatier stuff, at times seeming to have the wrong focal point.

While teenage star Mckenna Grace infuses the aging property with a needed burst of youthful energy, co-writer/director Jason Reitman (son of original filmmaker Ivan Reitman) is more interested in looking backward with the sequel, leaning way too hard on old characters, story beats, plot points and zingers.

While the narrative doesn’t totally land, the voice cast is solid and the vibe is consistently joyous.

Boldly filmed in black-and-white, Branagh wrings a heartfelt narrative from a superb cast, though the story stumbles somewhat when it strays from its youthful focal point.

"BOOM!” is an entertaining, heart-filling work that showcases two musical geniuses, putting a new spotlight on Larson’s musical legacy and giving Miranda another endeavor to gift us with his unparalleled artistry.

With a pair of Hollywood gunslingers, a few solid twists and plenty of bullets, The Harder They Fall is a shoot-’em-up to remember.

It’s a ghost story but also an underdog’s story, a fighter’s story, a mother’s story and, thanks to an Oscar-ready Stewart at the absolute top of her game, one of the very best movies you’ll see this year.

Zhao understands the larger assignment, as the epic sets the stage for future MCU intrigue. Her attention to detail and eye for design does wonders, even if by the end it all feels like an eternal chore.

Like most anthologies, some segments are better than others but they all highlight different inspirations Anderson’s woven together for a delightful cinematic sampler.

In picking up exactly where the last one left off three years ago, Kills separates its two key main characters, and not for the better. It just seems like a filler chapter before another main event, albeit with nasty kills, mythos building and cool references.

Amid seriously high stakes, Craig makes you root for Bond like never before in a swan song that’ll leave die-hards shaken, if not stirred.

The movie version is simply a poor adaptation, trading the vibrancy and refreshing spirit of the original show for all-too-familiar teen-movie angst, with an out of place leading man.

Entertaining and surprisingly funny given the subject matter, the movie’s also an exquisitely acted affair paced by Chastain (who also produces), turning in a career-best effort as the complex Tammy Faye.

The sci-fi epic Dune boasts a few films’ worth of giant sandworms, amazing spaceships, cosmic armies and galactic political drama, though it essentially is only half a movie.

Hide your mirrors and look out for bees: Candyman has returned, more relevant and terrifying than ever.

As the debuting title superhero and a new champ for representation, Liu exudes likability, swagger and depth – plus forms a great buddy-action combo with co-star Awkwafina – and “Shang-Chi” really cooks when he’s in a street-fighting groove. However, director/co-writer Destin Daniel Cretton’s ambitious adventure loses some of that storytelling momentum when diving into its involved mythology.

Given the chilling mood Bruckner strikes and dark corners he unearths, horror fans will want to spend some time in this Night House even if it’s not worth a long-term investment.