If Fury Road was all action with a story and world-building lying just under the surface, Furiosa is the complete opposite. Furiosa is all story and world-building, with light action here and there meant solely to drive the story forward.

IF has its charms, is good-natured and well-made, but ultimately doesn't quite know what it wants to be.

Tarot feels caught between trying to be two different kinds of horror films. The film wants to be a dark and creepy horror film with brutal kills. But, with its hilariously obvious foreshadowing and over-the-top performances and writing, it almost feels like the film wants to be a more campy and comedic horror film.

Kingdom of the Planet of the Apes borrows from the original series' themes and ideas while connecting to the lore of the 2010s trilogy.

With The Fall Guy, David Leitch and writer Drew Pierce attempt to make a Blockbuster action movie that simultaneously delivers a pure-hearted celebration of movies and moviemaking while also delivering the fight scenes and glorious practical stunts you expect in this kind of action movie.

For most of its runtime, Boy Kills World is a simple but effective revenge action film with stylistic flourishes.

Challengers is a movie about the emotional high of relationships- the exhilarating feeling that comes from connecting with another human being, both on a romantic and platonic level.

Sasquatch Sunset does the most with its reasonably simple concept. It's 90 minutes of pure slice-of-life moments of grunting sasquatches doing everything you'd expect sasquatches to do.

Abigail finds the filmmaking duo Radio Silence returning to their roots, returning to the single-location horror concept of Ready or Not for an enjoyably bloody and entertaining experience. Like with Ready or Not, that commitment to its single-location concept made Abigail so successful for me. Aside from the kidnapping scene at the start, Abigail takes place in one location. Radio Silence makes excellent use of that single location, with many tense, bloody, and incredibly entertaining sequences set in cramped hallways and single rooms.

Civil War focuses on the war referenced in its title and more on the characters at the film's center. The film throws the viewer into the lives of its central photojournalist characters. The film spends quite a lot of time fleshing out these characters, exploring who they are and why they do what they do. The bond that forms between these characters created an emotional core that made so much of this film so captivating to me.

Much of Wicked Little Letters's comedy stems from showing its cast of prestige actors swearing and shouting expletives. And to the film's credit, that is indeed very funny.

It's fascinating how much in common The First Omen has with Immaculate. Both films are nunsploitation horror about women having their bodies controlled by a religious group and birthing the antichrist.

With its Nazi-killing action, Spaghetti Western-like musical score, and even the font used in the opening title sequence, it's clear Guy Ritchie is taking a lot from Tarantino's Inglorious Basterds. While I found these attempts to feel like Inglorious Basterds quite distracting, once I got past that hurdle, I found an incredibly fun action romp.

Monkey Man is Dev Patel's incredibly audacious directorial debut. The film uniquely blends Hollywood action filmmaking with a more Bollywood-like style and sensibility. It's a style I haven't seen before, and Patel handles it with such bold confidence.

At this point in the MonsterVerse franchise, I've begun judging them on merits different from those of other movies, even other Kaiju movies, such as last year's Godzilla Minus One. I treat Godzilla Minus One as a genuine movie with a compelling story and in-depth character drama. But these later entries of the MonsterVerse franchise, with Godzilla vs. Kong and now this film, seem to unlock a more primitive side of my brain.

Ghostbusters: Frozen Empire has its moments.

Immaculate is at its best in its second half, focusing on incredible tension-building and sequences of genuinely uneasy body-horror imagery.

Problemista is a promising debut for Julio Torres. It's a wildly imaginative social satire that pokes fun at so many aspects of modern life, from the U.S. immigration and sponsorship system to how modern banks use overdraft fees to leech money off of already financially struggling people.

The true story at its center makes One Life the film so powerful. Nicholas Winton's story is so moving and seemed almost tailor-made for the kind of tear-jerker of a movie like this.

Love Lies Bleeding blends so many genres at once.