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.

With a greener blend of heart and humor, Shaft safely ushers in the vigilante detective for modern audiences, though safety never seemed to be a factor before.

Dark Phoenix takes arguably the most heavily thematic X-Men comic arc and delivers the most dully procedural, chopped-to-bits cinematic franchise entry in Fox’s mutant canon.

A fantasy in nearly every sense of the word, Rocketman reaches for and grabs hold of the stars so often that the dazzle occasionally becomes too much to handle.

The Dead Don't Die is a procedurally bland zomcom with little genre personality, playing as if Jarmusch invents a subgenre horror fans haven't been watching for decades.

Godzilla: King Of The Monsters lays many a colossal Kaiju smackdown, but human arcs crumble under the heavy weights of those 'Zilla-sized behemoths they're forced to shoulder.

Ma is a showcase for Octavia Spencer's ability to turn her typecasted traits into utterly disturbing obsession destabilization, but the film's less potent genre punch never lives up to its main character's psychotic allure.

Guy Ritchie fails to mesh his own style with that of the hand-drawn classic, resulting in an Aladdin remake that's an exquisite corpse of CGI nonsense.

Olivia Wilde’s directorial debut bursts outward with neon electricity, encompassing, even if overcooking, the teenage tropes levied by similar films of the past, while also staying deeply rooted in the here and now.

Brightburn doesn't ask if you want blood, but you've damn-well got it in this nastily gruesome superhero hack-n-slash that's a nightmare for parents everywhere.

Something Else promises monsters but delivers more demons of the human experience variety, as this sweet and sincere creature feature is far more romantically heartfelt than expected.