The Valet is a charming twist on a classic trope led by two delightful leads, even if it sometimes struggles under the weight of all it has taken on.

Even if it can't quite sustain the highs it reaches early on, On the Count of Three's success relative to its ambition is truly impressive, and those who aren't turned off by its very premise won't regret seeking it out.

Too often, though, the creativity gets bogged down beneath the references and standard mystery. Chip 'n Dale: Rescue Rangers still makes for an entertaining viewing experience, just as long as one doesn't mind the extra baggage.

Explorations of sex are a dime a dozen in Hollywood but Thyberg isn’t interested in sex, she is interested in people who are interested in sex. There is no judgment and no fetishizing. (The film even has time for a boner joke.) What more could one ask for in a film such as this?

Sadly, this adaptation fails to stand out from all the other sci-fi horrors about people being used for experiments. It doesn't even compare to the original 1984 film nor does it stand tall alongside great recent Stephen King adaptations like 2017's IT and 2019's Doctor Sleep. Firestarter is more like Pet Sematary and Carrie, a dull, exhausting remake that doesn't do anything new.

Ricci’s assured and robust lead performance helps build upon some exciting ideas in the script and is ultimately the reason to watch. She is thoroughly captivating and, while the film never reaches her level of excellence, it is still a relatively fun, wonky ride.

While Senior Year has certain moments that are indeed funny, it’s not enough to overcome the film’s many flaws.

Tankhouse might not be for everyone with its outlandish humor, but if viewers are willing to invest in the absurdity, then it's worth watching. Tomaschoff has clearly created this movie out of respect for anyone who has loved spending time in the theater, and with a game cast ready to shoulder the material, it becomes something very sweet underneath all the quirk.

From a superhero perspective, Vogt's movie recaptures that sense of primordial awe that many of today's blockbusters have lost touch with, simply by setting themselves in worlds so obviously distant from everyday life. Whatever its impact upon release, The Innocents seems destined to be remembered, and hopefully the industry will find room for more movies just like it.

Operation Mincemeat is a solid movie, the only reasonable reactions to which are mild. A small smile and a nod of approval on one end of the spectrum, a tilt of the head and a dismissive shrug on the other.

In the end, Escape the Field is tolerable at best. It doesn't shatter any expectations, but it won’t be utterly hated if one decides to give it a go. There are more charming and innovative horror-thrillers about escaping a maze, but Escape the Field tries. For a first feature, it is serviceable for a small-budget venture.

It does not reinvent the wheel, but it engages viewers on a visual and cerebral level. There is a precarious balance between the heavy themes of the script and the upbeat nature of this Bad Boys-esque action film, but somehow it sticks the landing.

The convergence of the story of a bereaved mother with a cult-like presence in the new country she calls home does not blend as effortlessly as one would like. The third act proves it cannot. Despite this, however, The Twin makes for a fairly constructive horror that is worth a watch.

Top Gun: Maverick is a rare sequel that is not only better than the original but retroactively makes Top Gun's story altogether deeper.

The film is a combination of great ideas that could have gone a bit further.

Filled with passion and a performance from Anaïs Demoustier that is equal parts energetic and blisteringly self-aware, Anaïs in Love is hilarious and romantic even if its resolution ultimately falters.

The film is a basic thriller with little to offer audiences who enjoy the genre.

There is a very entertaining movie somewhere in The Ravine, but it seems to have been left on the editing room floor.

Along for the Ride captures the magic of young adulthood and first love, delivering a relatable coming of age story with a sweet romance.

The action sequences are fun. Paired with the film’s visual style and horror elements, it fares well enough, though the personal journeys are lacking.

Despite its flaws, it encourages a re-examination of Apartheid South Africa and a closer look at the tiny sparks that lit the flame known as the Free Nelson Mandela campaign and the overall cultural shift against Apartheid.

The synopsis sounds straightforward, but there is a lack of balance from the start, and the film has an ill-mannered approach to telling a sensitive or impactful story about sex trafficking.

First and foremost, this remains a film for the fans. As such, Downton Abbey: A New Era is a triumph. After several tumultuous years, returning to a well-known universe with beloved characters is a balm and anyone who has followed along with the Crawleys will find plenty of enjoyment within the film.

It's good to have the actor, whose diverse filmography is certainly a memorable one, back in an exciting, eccentric big studio film.

Intelligently crafted and delicately performed, We're All Going to the World's Fair is fundamentally a portrait of loneliness, and explores how discovering an online community can alleviate, or exacerbate, a person's feelings of isolation.

The Tale Of King Crab doesn’t keep one's attention at first, but if the audience can make it past the period piece there is a thought-provoking western on the other end.

Those who may be new to the genre or merely want to disengage for a little bit will find merit in Choose or Die. But for bona fide horror fans, the derivativeness and the flatness of the execution is too much to tolerate.

Stuck somewhere between puzzle film and quirky comedy, between imitating David Lynch and parodying him, it draws its audience in with the overtures of a compelling mystery only to leave them stranded in what is fundamentally a failure of tone.