Blood Red Sky both is and isn't the movie you think it'll be, but it's perfectly suited for Friday night entertainment.

Put simply, Old distils the human life cycle down into one unique cinematic experience. One that will cause arguments, promote debates and lead to further discussions. Something which confirms M. Night Shyamalan remains a force to be reckoned with.

There isn’t a shred of originality or inventiveness to be found anywhere in the DNA of Midnight in the Switchgrass, but the performances from Fox, Hirsch and Lukas Haas as the unnervingly creepy and very murderous Peter are deserving of much better material. That being said, it’s exactly what you’d expect from a modern era Bruce Willis effort, even if he’s barely in it at all.

The concept is ripe for biting satire at how super-serving content can often by detrimental to art and creativity, but instead Space Jam: A New Legacy is a briefly and all-too-infrequently enjoyable hybrid of sports comedy and family drama that doubles as egregious product placement on the largest possible scale.

Black Widow isn't going to go down in the history books as top-tier Marvel Cinematic Universe content, but it's not too bad at all.

The Tomorrow War isn't as good as it could have been, but it's an entertaining enough sci-fi action blockbuster.

The Ice Road further cements Liam Neeson’s reputation as the only action star in the 60-70 age bracket worth his salt.

Hitman's Wife's Bodyguard is a perfectly acceptable buddy sequel, but it's all very uninspired and unoriginal.

Paramount+ has finally released its first major in-house exclusive movie, but it's an understatement to say that Infinite could be better.

In a time when identity, image and awareness are key to any discussion, A Quiet Place Part II demonstrates the possibilities of stories in the hands of those uniquely suited to explore them.

The Devil All the Time is an emotionally powerful look at familial trauma, religious corruption, and one man's will to challenge his fate.

The film plays with form the way Enola plays with words: dazzlingly, whimsically and sarcastically. It's a breezy escape from a world that seems to be getting darker by the day.

Cruella isn’t perfect by any means, but it’s an altogether different kind of Disney blockbuster that pivots from origin story to heist thriller via family drama and a pastiche of the cutthroat fashion industry with consummate ease, all anchored by a tour de force performance from the leading lady.

As a whole, Army of the Dead is big, loud, incredibly stupid and probably 20 minutes too long, but it’s a deliriously bonkers delight once it finally finds its footing.

It’s lean, mean, and boasts one hell of a lead performance, so fans of both sci-fi and the thriller in general will find a lot to love about Oxygen.

Wrath of Man is a slick action thriller from writer director Guy Ritchie, where retribution is only half the story.

Taslim, Sanada, Lawson and the gloriously R-rated fights elevate Mortal Kombat significantly, no doubt, and you can slap on another star if you’re a longtime fan of the series, but newbies will be left largely unimpressed.

Submerged is a whole mess of tension primed to leave viewers in an anxiety-induced pile of helplessness, which means it does its job pretty damn well.

Despite the best efforts of McCarthy, and a winsome Spencer as her sidekick, Thunder Force is more like Shazam! Lite. It wants us to laugh at genre tropes, but this crude and unoriginal dreck is just comedy Kryptonite.

Godzilla vs. Kong is exactly the movie that everyone wants it to be, and that covers both the positives and negatives.

Impassioned, engaging and eloquently constructed, City of Lies has much more to offer than first meets the eye.

Zack Snyder’s Justice League is excessive and overlong to the point that trimming anywhere up to an hour would have elevated it significantly, but it’s still a triumph of circumstance, style and execution.

Tom Holland breaks away from the Marvel Cinematic Universe in a career defining performance. Cherry melds arthouse invention with mainstream genre to give audiences something truly special.

Kung Fu Panda 2 benefits from an entertaining story, fantastic direction and amazing visuals. It's one of 2011's best animated films.

Gerard Butler's latest effort reveals a dramatic depth beneath the action man veneer. Brooding, bold and effortlessly engaging, Greenland breaks the mould.

While fans of either Freaky Friday or Friday the 13th might not get enough of what they came for in Freaky, fans of Vaughn will get more than enough to keep them satisfied. He makes Freaky absolutely worth it.

It might not reinvent the wheel in terms of either the action thriller or modern day war genres, but Carnahan has delivered a hugely accomplished debut that’s often harrowing to watch but never anything less than eminently watchable, packed with both nailbiting tension and impeccably-crafted set pieces that mark him out as a director well worth keeping an eye on.

The end product is a hugely satisfying and wholly original Christmas pic that will no doubt become required viewing on an annual basis for those who prefer their holiday favorites to be a little less traditional.

There is clearly a lot of ambition to The Loved Ones and the near-brilliant leading performances help make the film a unique and terrifying experience.

There’s also an earnestness and unashamedly goofy quality to the whole thing that might even win over some of the actor’s longtime naysayers.

An American Pickle features an impressively committed Seth Rogen in dual comic roles, but the film lacks depth and urgency and isn’t nearly funny enough to make up for it.

The Tax Collector flings blood, guts, testosterone and Latinx characters to the wall to see what sticks. And in many ways, it pulls that off, especially when all those things are literally splattered on walls.

Part of Hamilton’s brilliance is this reclamation of U.S. history.

The Old Guard has everything you could want from a Netflix actioner. Combat situations get your adrenaline pumping, and it’s rather quick to the draw. Gina Prince-Bythewood establishes a world worth investment thanks to characters who develop farther than just another team of renegade badasses.

Relic is the latest possession movie to peel back its characters slowly, layer by fragile layer, getting at the secrets that lie just below the surface.

Eurovision Song Contest: The Story Of Fire Saga is bursting with wit, warmth and laughs, and is well worth a watch on Netflix.

You Should Have Left is a perfect example of how "forgettable" horror cinema is somehow more tedious than something that goes out in a blaze of failed ambition.

Yes, the movie where a girl falls in love with a Tilt-A-Whirl says more about self-assurance, romantic wilds, and personal comforts than most human-on-human counterparts.

Tom Hardy does it all as Capone: growling, drooling, snot, yelling, snotty yelling. If his performance was in service of a better picture, we might even be talking about him during Oscar season.

Scoob! is an enjoyable-enough start to the Hanna-Barbera cinematic universe, but may leave Mystery Inc. superfans feeling robbed of the Scooby-centric reboot that such a title suggests.

The Platform is a multi-tiered assembly of tension, terror and terrible imaginings that, in cake form, would be worth centerpiece window placement in any professional pâtisserie.

Bloodshot shoots to kill, but with the accuracy of a Stormtrooper - off the mark and leaving much to be desired.

The Hunt puts the "F-U" in midnight "fun" as no sides are safe in this middle-finger cultural roast that's as loudly defiant as it is proudly blood-soaked.

A feel good movie should make you feel...well, good. And My Spy's arsenal of laughs, smiles and carefree action connects with a sniper's precision.

Leigh Whannell does a damn fine job manifesting unnerved tension and sustaining Cecilia’s downfall right in front of everyone’s eyes.

Brahms: The Boy II seems to want nothing to do with its original, which is an odd and detrimental outcome for your direct continuation of Brahms' ongoing story.

From start to finish, Fantasy Island is lacking wicked wonderment and poignant reboot vocality. You'd be best off skipping it.

It’s an enjoyable movie-night combination of lightning quips, genuine friendship and observational humor paced with Sonic’s “gotta go fast” attitude. Score one for video game fans!

Birds of Prey proves that it's no longer a man's world, it's Harley Quinn's - and we should be so lucky.

Gretel & Hansel is a full course meal when it comes to cinematography and production design, but the sleepy, hollow narrative pacing is just too stogy to overcome.

The Turning is a failed ghost story on almost every conceivable level with a third act that's flat-out unforgivable.

Yes it's "Alien but underwater," and that's a good thing given how a top-notch Kristen Stewart leads us on a terrifying dive into the deepest reaches of aquatic horror.

The Grudge feels like "just another remake," which is a shame with such a previously style-forward director at the helm.

Star Wars: The Rise Of Skywalker suffers the misfortune of having a director who cares more about digging up a franchise's past than moving forward with an original story.

While watching 1917, there’s a sense that you’re waiting for a fresh take or an interesting point that never comes. Audiences don’t need this movie to tell them that war is hell. But for those striving to get closer to experiencing that hell, Deakins and Mendes achieve something few war films before them have. They just needed a grander reason for doing so.

Black Christmas deserves to be a better slasher satire propelled by empowerment than the messy, tonally obstructed holiday dud we're gifted.

While its well-founded intentions and creative intuitions are palpable, not even a tortuously acrobatic performance from Aaron Taylor-Johnson saves A Million Little Pieces from consistently sober storytelling.

Doctor Sleep is a conflicted and unwieldy sequel attempting to unite worlds (King and Kubrick) while telling an original story from yet another filmmaker's viewpoint (Flanagan) that never blends together.

Any misgivings bestowed upon Ford V Ferrari by the script are, more or less, eliminated by the film’s big draw: the racing. Gloriously calibrated, simply designed, and modestly edited, audiences are reminded of the dynamite, nearly natural relationship automobiles share with filmmaking.

The Irishman is delicately handled by experienced, especially-inspired makers. It’s simply the kind of film that isn’t made too often anymore; and it’s one of the best this year has to offer.

Terminator: Dark Fate is a good Terminator franchise entry by comparison, but still falls into many of the pitfalls that modern reboots/remakes/sequels struggle to sidestep when balancing nostalgia with hyper-CGI action.

Gomez-Rejon’s The Current War is unfortunately neutralized by Mitnick’s artless script.

Hustlers is intoxicating, surreal and a party you never want to end. It also helps when you have great actresses. Everyone here dances off screen and into our hearts. That goes for Lopez in particular.

Dolemite Is My Name belongs to Murphy.

A simple and simply satisfying seal, El Camino: A Breaking Bad Movie will, in no way, tarnish the alchemic legacy of its TV precursor, though it doesn’t do much to enhance it.

Edward Norton mines political relevance in some areas of noir-drenched New York and completely ignores it in others. As a result, Motherless Brooklyn becomes Chinatown’s outshined, ugly stepbrother.

Blazingly and brilliantly over the top, Jojo Rabbit’s total dismissal of subtlety is its most ferocious ally and, only occasionally, its most frustrating foe in the war against hate.

Zombieland: Double Tap winks and nudges its way through a long-time-coming sequel, but earns its survival badges when cracking wits around new casts of characters.

Every typical category of film analysis – the performances, the cinematography, the score, the wit, so on and so forth – needn’t be labeled as anything less than great.

Elegant and entrapping, muddy and magnificent, Monos is a thrilling, if ambiguous endeavor of guerilla warfare, human nature, and adolescent anarchy.

Between the split bones and compulsive carnage, a disjointed script, co-written by Stallone and Matthew Cirulnick, makes Rambo: Last Blood mindless and messy.

3 From Hell is an ugly example of too much wicked style over zero intended substance.

As a timely testament to our willingness to validate and support rather than investigate, White Lie is both insightful and terrifying.

While it takes a few too many cues from similar coming-of-age tales, Honey Boy offers audiences an egoless dissection of Shia LaBeouf’s side of his own story.

A rebirth for both actor and director, Pain and Glory sees Banderas and Almodóvar at the peak of their electric, heart-wrenching capabilities.

Any hint of sappiness in the neighborhood is squashed by Hanks’ paralyzingly delightful turn as Mister Rogers in A Beautiful Day In The Neighborhood.

A macabre masterpiece, Joker’s social relevance may be disputed for years, but the film and its star may never be denied the grandeur of their cinematic revolution.

For 130 minutes, the writer-director disorients and delights, confidently trailblazing through his murder mystery two, maybe even three steps ahead of the audience. This isn’t a simple, direct testament to the slick, sidesplitting script, nor the fully committed, second-to-none ensemble, but rather a passed inspection of these cogs and their ability to form a purely entertaining experience.

Thrilling sci-fi exploration that ponders the melancholic state of self-worth, existence, and what it truly means to be alive.

The Lighthouse boasts and thrives off of a maritime rap battle between Willem Dafoe and Robert Pattison, whose claustrophobic journey together towards madness is among the sickest and most memorable collaborations in recent memory.

Ready Or Not is an exquisite horror comedy heavy on familial dysfunction, heavier on gameplaying brutality, and always a reminder that Samara Weaving deserves to be the biggest of megastars.

It Chapter 2 downgrades Pennywise's presence amidst the adult Losers' coming together, but is still a funhouse-freaky sequel that makes quite the statement in terms of scaling blockbuster horror bigger and grander.

The Banana Splits Movie is a peculiarly fresh nostalgia trip and has just the right amount of gore to make this otherwise by-the-numbers slasher a surprisingly amusing experience.

Angel Has Fallen is a galumphing installment to a galumphing action franchise. With a hero who's been beaten to a pulp, the next one could very well be called "Gerard Butler Has Fallen: Natural Causes."

Good Boys successfully exploits a newfound ground between crudeness and innocence, but nearly runs it dry.

Apocalypse Now: Final Cut is a graphic yet gorgeous masterpiece about the Vietnam War. It's also perhaps the best movie ever made about the horrors of war.

47 Meters Down is still the alpha of this franchise pack, but Uncaged's stealth "slasher but with sharks" structure is an approved and entertaining surprise.

Scary Stories To Tell In The Dark is gateway horror that treats intended audiences to many a scream, pulling no punches nor watering down nightmarish conjurings that remind how healthy fearful emotions can be at any age.

One can say that Faulkner is unfilmable, but any work will be unfilmable when it is being adapted by a talentless director. In this case, the fault of the film’s issues stem completely from Franco and not at all with the difficulty in Faulkner’s writing. Hopefully, after two failed outings, the actor will learn to leave Faulkner’s masterful work alone. Although knowing him, I wouldn’t be surprised to see him try his hand at adapting one of the author’s works again.

Once Upon a Time in…Hollywood is a wistful fantasy fueled by a series of top-grade performances, a stampeding collage of Tarantino-isms, and of course, a happy slathering of movie magic.

Nearly every aesthetic decision that went into this version of the The Lion King detracts from the artistry and the heart that helped its predecessor surpass immortality.

Crawl is a sensationally thrilling aquatic nightmare filled with carnage, bubbling chaos, and all the creature-feature intensity that makes this the summer's must-see horror event.

Ari Aster continues on as filmmaking’s ringleader of grief in Midsommar, an unsettling, often shocking portrayal of cultic life that’s rich with both ambition and beauty.

Yesterday’s lackluster, underwritten script both births its golden egg concept, and also restrains it from ever reaching the next level of sophistication or interest.

Annabelle Comes Home is crowd-pleasing horror entertainment that’s both fun and eerily frightening.

Spider-Man: Far From Home is the upbeat teenage "road trip" comedy antidote to post-Endgame doom and gloom that Marvel fans deserve.

Toy Story 4 is as mediocre a Toy Story movie as there is and probably can be, but it also marks another unbelievable triumph at Pixar in their never-ending quest to realize the imagination.

Your enjoyment of Child's Play will depend on if "Chucky 2.0" is funny enough for your horror comedy tastes, because without investment in Kaslan's "Buddi," there's not much to appreciate beyond a few gnarly slasher deaths.