Beyond The Games plays to the nostalgia crowd instead of adopting 21st century scares, but still finds a way to explore untapped VHS potential.

Bridget Jones’s Baby effortlessly reminds audiences why this character and her world were so compelling in the original film.

Cars 3 isn’t remarkable or groundbreaking or even all that memorable, but it’s a rock-solid movie that leaves a far better taste in the mouth than its critically panned predecessors.

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.

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.

The Little Mermaid is not just another useless, soulless remake from the Mouse House. Not only does it give the gift of Halle Bailey as Ariel, but it also fortifies its predecessor's story by adding much needed narrative context and emotional pull.

Next Exit aims high, and while it hovers perilously close to overindulgence at times, Elfman’s hugely accomplished first-time feature largely succeeds at every box it attempts to tick off.

Here Alone is a sometimes-striking, sometimes-repetitive glimpse into apocalyptic drama that struggles to offer anything new.

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.

When the movie doesn’t meander and its filmmakers understand how to use their time, V/H/S 99 buzzes with creative energy. At its best, it has all the pleasure of popping in a tape late at night and letting the television light wash over your room.

Jack Quaid proves yet again that there's always room for a new kind of hero.

Burial leans too heavily on genre convention without adding anything fresh. For that reason, any decent performances which are happening on screen fail to rescue it from mediocrity.

Jumanji: Welcome To The Jungle is both a fulfilling reinvention and adventurous video game quest that’s far funnier, and unexpectedly exciting, than you could hope for from an evolved reboot with explosive fantasy character.

Wildling may swerve last-minute into a less dense finale, but Bel Powley's performance is worth this fierce and untamed coming-of-self arc that's so exquisitely female-centered.

Curse Of Chucky is a vicious return to form for one of horror's most legendary icons, terrorizing victims in the purest, darkest form of criminal insanity.

Before I Fall makes a simple plot into this convoluted, aggravating mess of emotional turmoil that lacks a shocking amount of direction.

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.

Boston Strangler has more to say than some might think by promoting a forthright, focused, and professionally progressive approach in those central performances. Roles which are only made to look easy by Knightley and Coon, purely because they embody them so effortlessly.

Though The Highwaymen makes sure it tells the right story about Bonnie and Clyde, it doesn’t win the argument that it tells the better one.

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.

Poorly written and with hardly any thrills, The Mule disappointingly depends on the amiability of Eastwood’s character, whose extreme social ineptness is far beyond the redeeming powers of star power.

Brimming with wide-eyed invention and featuring an ensemble cast on solid form, Four Samosas is a concise piece of cultural comedy, with some B-movie heist elements thrown in for good measure.

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.

Happy Death Day is a generic PG-13 horror purgatory that's lived on repeat until even weaker motivations take us farther out of any semblance of storytelling thrills.

Despite Fuqua firing on all cylinders and Washington making the most of what will probably be his final outing as McCall, the narrative foundation of The Equalizer 3 is sadly far too rocky for even the best in the business to breathe the proper life into it, only managing gasps of what could have been if the script (and, again, the possibly-guilty final cut discussions) hadn’t been so gutless.

The Greasy Strangler is a perverted fever dream that will please few audiences, but those who enjoy it are in for one f*#ked up treat.

Indiana Jones and the Dial of Destiny is a solid action-packed blockbuster that ticks all of the franchise's required boxes, even if it isn't quite a farewell worthy of a cinematic icon.

The script is equal parts juicy and loose, but in the hands of Scott Derrickson, 'The Gorge' is ultimately worth gorging oneself on.