Day Shift just about gets by on its impressive action sequences, but everything else about the vampire horror comedy feels more than a little lacking.

Secret Headquarters is aimed squarely at young adults, takes a leaf from the 'Spy Kids' franchise, and is never less than engaging when affectionately leaning into genre cliches without trying too hard.

Prey is a fresh, original, and exciting entry into a franchise that was in desperate need of new life.

There is plenty to love about Bodies Bodies Bodies, even if it could’ve sharpened its satirical knives a bit more. Overall, it’s a fun, darkly humorous watch that’s worth checking out if you’re looking for something fresh to satisfy your appetite for horror and humor in equal measure.

When Bullet Train sings it’s often a blackly hilarious and knowingly absurd slice of demented action goodness. When it doesn’t work, self-indulgence begins to creep in, almost as if the creative team deliberately set out to make something that would be fondly remembered as a cult favorite in the years to come, but that’s a sentiment that can only be earned, not cultivated.

Ultimately, The Honor Society feels like a small-scale charm offensive featuring some genuinely engaging characters. If the worst thing audiences can say is that it feels derivative and shows too much love for John Hughes, then so be it. In the end, there may be few surprises on offer in this teen dramedy, but it is still guaranteed to make you smile.

Jordan Peele mixes and matches elements taken from big blockbusters and obscure subgenres alike to create a heart-racing nightmare that rains abominable filth down on its audience.

They/Them offers an interesting vision of what greater, specific LGBTQIA+ representation and storytelling can bring to a slasher, even if it doesn’t land perfectly.

Writer and director Quinn Shephard's Not Okay takes thing near to the knuckle, but the biting jet-black comedy never loses sight of its intentions, deftly balancing humor and bile with heart and hard-hitting themes.

The Gray Man delivers on its promise of spectacular globetrotting action escapism, but there's a noticeable spark missing that could have elevated it above formula and into greatness.

Billed as a lockdown love story, Alone Together is more than the sum of those parts. Offering writer director Katie Holmes a perfect platform to deliver, something intimately personal with political undertones. Substance and subtlety with this subject matter is rare, so give this some attention.

Persuasion is a disastrously misguided Jane Austen adaptation that condescends, talks down to, and tries to hand-hold its audience at every turn.

Perhaps it’s a relief that the film does not, as is a trope in recent films, end in Gru’s temporary redemption, but at least that would be a conclusion of some sort. Instead, we’re left with entertaining but toothless villain-lair-building.

It’s exhilarating while it lasts, creating an unwavering feeling of giddy excitement and palpable enthusiasm in doing so, but by the time the credits roll on a pair of post-credits scenes that hint towards where Thor is heading next, you might be left wishing you’d consumed something more substantial, instead of gorging on instant gratification simply because it’s right there in front of you.

The Princess fully embraces its outlandishness to deliver a cheesy, violent, R-rated fantasy actioner that's destined to ensure as a camp cult favorite.

The Forgiven should have been an epic morality tale with acres of grey area, but somehow misses its mark, forever scuppered by a cliched ending and a conclusive lack of closure for audiences.

For fans of Presley himself, this is the story you’ve been waiting for, and with “Unchained Melody” in your head, you’ll leave the theatre with more respect for Presley, for those you love, and for anyone who has ever been burnt by the hand that should have shown them comfort.

Hart is capable of better, and Harrelson deserves better, so we can only hope the duo had fun during shooting, because there isn’t a great deal else to recommend outside of the pair’s best attempts at trying to wring some modicum of entertainment value from the scraps they’ve been given to feed on.

Overall, Nude Tuesday is a creative leap that mostly lands. The absurdist comedy can be hit or miss, but the ingenuity of the storytelling, respectful treatment of all kinds of bodies, and talent of the actors on screen make it gel together.

There’s definitely something vastly superior that was agonizingly close to being unleashed, but as it stands, Kosinski and his collaborators have delivered a solid summertime Netflix original that’s destined to play extremely well for the next couple of weeks, albeit one you almost certainly won’t hear anybody talking about six months from now.

Cha Cha Real Smooth is perfect because it never set out to be anything close to a rom-com. Raiff focused instead on what it is that brings people together, which has more to do with attraction than anything else in cinema.

Jurassic World Dominion has its moments, but the latest installment in the franchise squanders what should have been a slam dunk.

You can’t help but admire the ambition on display, even if it ultimately falls just a little short.

Dolan can officially be deemed as one of horror’s most intriguing and singular new talents, thanks to a debut that’s definitely worth seeking out for horror aficionados who prefer having something to think about and chew on once the lights come up, as opposed to the hollow adrenaline rush of splashy set pieces that don’t have anything to say, and find themselves forgotten in an instant.

It isn’t anything you haven’t seen a handful of times before, then, but that’s exactly why Hustle works so well. It’s a 117-minute blanket of comfort that delivers precisely what you want to see from an underdog sports story, and never tries too hard to be anything else.

Once again, the director and his co-writers Gemma Hurley and Jed Shepherd have made the absolute most of the minimal tools at their disposal, wringing a surprisingly robust hybrid of intense chase thriller, splatter film, and absurdist horror comedy out of a shoestring budget. However, DASHCAM is a lot more uneven than Host despite the superior production values, but they do combine to form what might end up going down in the history books as pandemic horror’s premiere double-feature.

Beyond the perfectly poised storytelling, awe-inspiring visuals and pulsing soundtrack, Maverick also possesses another important intangible. It brings out a feeling that’s arguably been missing from the multiplex for too long, where you will literally be able to hear a pin drop.

Everything Everywhere All At Once understands that the world is infinitely big and scary, and that we often feel like we are the worst versions of ourselves. And yet, it manages to effectively advocate for us to keep going, to seek the connections and moments that make life worth it.

Slapface can often be a relentlessly bleak experience, but the thematic resonance and surprisingly effective character dynamics comfortably offset any minor flaws.

Multiverse of Madness is at its best when allowed to be a Sam Raimi movie, but often sags when ticking off the boxes required of an MCU chapter that follows on from Scott Derrickson’s Doctor Strange, WandaVision, Loki, and Spider-Man: No Way Home all at once.

With great warmth, empathy, and delightful use of drawings and digital video clips, Inbetween Girl creates a coming-of-age story that anyone can relate to but with a refreshing perspective.

You might think you've seen it all before, but 'The Twin' thrives in upending expectations to deliver an atmospheric folk horror that's as emotional as it is terrifying.

This searing social satire on identity in contemporary culture features a career-best turn from Karen Gillian on powerhouse form.

Pompo the Cinephile makes for a comedic romp through America's film industry in this wonderfully animated feature from studio CLAP and Takayuki Hirao.

If you stick with it, The Cellar performs a kind of alchemy on screen: turning from a staid haunted house movie into a haunted house movie with a real sense of ambition and fun. I just wish it had more interest in its female leads.

Choose or Die has some important things to say about the decisions we make.

Nicolas Cage brilliantly embraces, mocks, and subverts his own legacy in an ingeniously demented action comedy that celebrates one of Hollywood's most uniquely fascinating stars.

The Northman is wild, startling, fascinating, and phenomenal at once, but hopefully it’s just the beginning of Eggers regularly being handed sizeable budgets to deliver more sprawling near-masterpieces.

In a world where everything is hyperconnected, Pirates looks to revel in a simpler time when neighborhoods were worlds unto themselves. This reveling is something it achieves with flair and room to spare, as a fully-fledged writer-director steps up to make his mark.

Fantastic Beasts: The Secrets of Dumbledore gently levitates rather than soars, hums quietly under its breath when it should sing, and mildly entertains and amuses when it should have fans gripping the edge of their seats as thing hurtle to a breakneck climax.

Less is almost always more, but the creative freedom afforded by Netflix must have meant that the director, co-writer, and producer didn’t feel obligated to leave much on the cutting room floor. As a result, The Bubble throws everything and the kitchen sink into the mix, but very little of it manages to stick.

Morbius is a huge step backwards for Sony's Spider-Man Universe, and the worst Marvel-branded movie to come along in a long time.

It might be way too long and suffer from many familiar problems, but 'Ambulance' still has enough action-packed thrills in the tank to rank as Michael Bay's best movie in years.

Jarvis Cosmo is astounding in this examination of personal loss and family trauma.

What this film celebrates more than anything, is the fact that it’s never too late to make a change.

With a little less preamble and a lot more momentum, The Cow might have been something special.

Ti West's latest slasher 'X' defies all odds and sets itself apart from the crowd as a phenomenal piece of filmmaking that reinvents the overplayed clichés and marks a refreshing turning point for modern horror.

Emergency fails to live up to its early promise, by squandering strong performances in a search for something more satirical.

Jujutsu Kaisen 0 is interesting, funny, and flashy by itself, manga and television aside. And there’s something in it for shonen fans of all sorts, replete with the tired trope of teenage boys giggling over their friends’ big boobs while standing right next to her.

It isn’t always entirely successful, but when The Adam Project is firing on all cylinders and zeroing in on the family drama that’s never too far away from the surface, you may just find yourself fighting back tears.

The Batman is a thrilling, ambitious, and exhilarating reboot for the comic book icon. It might not be the Dark Knight's best-ever movie, but it comes mighty close.

Ultimately, Something in the Dirt disappoints for a multitude of reasons, not least of which is the optimism that slowly dissipates as things progress. To call this an ambitious misfire is being polite, as the investment required going in never fully collates with the level of satisfaction audiences expect coming out.

Overall, the writing, performances, direction, and cinematography of Nightmare Alley are all top notch in virtually every way.

It’s either a compliment or a criticism to say that you need to be on the exact same wavelength as Big Gold Brick to get a kick out of it, because if you turn the dial even the tiniest little bit in either direction, all you’re going to end up with is static. If you’re on board, though, then there’s plenty to enjoy about an offbeat adventure that’s unlike anything else you’re likely to see this year.

Uncharted aims for old school adventure with a modern sheen, but the end result is the latest in a long line of immediately forgettable video game adaptations.

Finn Wolfhard and Julianne Moore shine in this directorial debut from Jesse Eisenberg.

As people have been forced to spend extended periods away from loved ones, often in less-than-ideal circumstances, God’s Country is certain to hit home hard.

Dakota Johnson and Sonoya Mizuno lift this reinvention, with some genuinely engaging performances.

Unsentimental, brutally honest, and staggeringly complex in its execution, intelligent cinema like this is a rarity.

Moonfall is every bit as big, loud and stupid as you'd expect, but Roland Emmerich's latest disaster epic is also an unforgivably dull slog.

Last Looks doesn't bring anything new to the table, but it's a fun crime caper that makes us want to see Charlie Hunnam's Charlie Waldo again.

In many ways, Alice feels like a film looking to inform as well as entertain, by exploring the evolution of Black identity with unflinching honesty.

This is acting at its purest, designed to communicate and enlighten an audience in search of answers. Either through visual and verbal dexterity, or blood-curdling physicality and audible androgyny, this play still has much to teach people about the power of cinema.

Back from the dead, the new chapter of the Scream series brings us back to the story we initially fell in love with, while creating a dynamic where Ghostface can strike again to continue his bloody carnage.

With U, Belle could be a prescient reimagining of real-kei for a new age, but it never fully escapes the tired conventions of homage it so desperately wants to fit into this future.

It’s a film of maddening contradictions, missed opportunities and half-taken risks, but it’s destined to be one of the year’s most polarizing and talked-about releases regardless.

Clifton Collins Jr. gives an incredible performance in Jockey, which manages to both lean into the tropes of the sports drama while still painting them in an entirely new light.

This slow burn family drama from writer director Ben Cleary, takes its time tackling some delicate questions. That Swan Song also holds up as a diverting piece of mainstream entertainment, only underlines the importance of Apple and its original content.

Ben Affleck anchors this surprisingly complex drama with a career best performance, which sees director George Clooney turn his attention to the importance of friendships in life.

Mother/Android isn't the sci-fi movie you think it's going to be, or even the movie it probably wants to be, but it's nonetheless a solid first-time feature from from writer/director Mattson Tomlin.

Spider-Man: No Way Home occasionally creaks under the weight of its own ambition, but it's a monumentally entertaining installment of MCU multiversal madness that fans are going to adore.

Just like the star-crossed lovers at its center, this West Side Story risks it all, and the result is an explosive reminder that life and love are both gifts worth celebrating, for we never really know how long we have to enjoy either one.

Add on another star, or perhaps even two, if you're a fan of the games, but Resident Evil: Welcome to Raccoon City will struggle to win over those who aren't familiar with the franchise.

Red Notice is vastly less than the sum of its parts, with the central trio saving it from mediocrity. It's a perfectly acceptable and decently entertaining $200 million action epic, but nothing more.

Finch isn't the most original or exciting sci-fi movie you'll ever see, but it's a charming road trip adventure anchored by yet another incredible performance from Tom Hanks.

The Electrical Life of Louis Wain is a biopic every bit as off-kilter and bizarre as the protagonist, but despite all of the whimsy and eccentricities, it finds itself missing a spark.

Army of Thieves isn't the most original or inventive heist movie you'll ever see; but it's a massively entertaining expansion of Zack Snyder's undead cinematic universe.

Paranormal Activity: Next of Kin doesn't reinvent the wheel, and it won't win over many new converts, but it's the best entry in the franchise for a long time.

In an audacious departure which marks a new level of maturity, Edgar Wright invites audiences to strap in and enjoy his latest cinematic offering.

This bombastic Western debut heralds a new voice in cinema.

Dune might not be for everyone; but if you strap in, immerse yourself in the world and go along for the ride, Denis Villenueve delivers a blockbuster sci-fi epic that's regularly jaw-dropping.

Night Teeth is a disappointing vampire thriller that's all style and no substance, leaving plenty of interesting world-building and unique mythology behind in favor of a formulaic story audiences will see coming from a mile away.

Halloween Kills is a huge comedown compared to its predecessor, offering plenty of blood, guts and gore to satisfy fans but little for everybody else in a by-the-numbers slasher sequel.

As another era of James Bond is brought to close and speculation builds about the future of this franchise, this reinvention feels perfectly timed.

Prisoners of the Ghostland isn't going to be for everyone, but if you're on board with one of the craziest movies you'll see this year, then strap in and prepare for Nicolas Cage at his most unhinged.

Copshop isn't quite the movie the trailers paint it to be; It's definitely a worthy first meeting between Gerard Butler and Frank Grillo in the action genre, but Alexis Louder is the one who really steals the show.

Winstead is nothing short of fantastic in terms of both her physical and performative presence, but she could have really used a meatier journey to sink her teeth into.

Malignant is messy, chaotic, ridiculous and quite possibly the most insane movie you'll see this year, but James Wan doesn't just know that; he uses it to his advantage.

Shang-Chi and the Legend of the Ten Rings isn't top-tier MCU, but it's a solid origin story anchored by two fantastic performances from Simu Liu and Tony Leung, as well as some of the franchise's best action.

The Card Counter marks another unique cinematic contribution from a masterful filmmaker.

Worth is a fairly routine biographical political procedural, elevated massively by fantastic performances from Michael Keaton and Stanley Tucci.

Ultimately, The Colony squanders a great concept and never takes it to fruition.

This culture clash comedy is a car crash only John Cena survives.

No Man of God doesn't tell us anything about Ted Bundy we didn't already know, but it's a riveting drama anchored by two phenomenal performances from Luke Kirby and Elijah Wood.

The Night House might not stick the landing, but it's an eerie supernatural chiller with an incredible lead performance from Rebecca Hall.

Packed with wit, humor, action and plenty of heart, Free Guy might just be the best video game movie to ever come out of Hollywood.

Beckett is a solid Netflix effort that offers a throwback to the intense political manhunt thrillers of the 1970s.

Nine Days is a fascinating, thought-provoking and incredibly moving feature directorial debut from Edson Oda.