Arguably, ‘The Super Mario Galaxy Movie’ may do its job, entertaining fans and younger viewers, but it lacks a heart, and ultimately just doesn’t feel worth the price of admission. At the end of the day, playing these games may be time better spent, allowing viewers to instead immerse themselves as players.

Directors Daniel Roher and Charlie Tyrrell offer a pragmatic vision of our potential Artificial Intelligence-dominated future with ‘The AI Doc: Or How I Became an Apocaloptimist’, even if it doesn’t go deep enough.

Vicky Jewson’s ‘Pretty Lethal’ squanders an interesting premise with paper-thin characters, dull performances, and poorly staged action.

Thanks to its masterful framing and an impeccable lead performance from Aleksandr Kuznetsov, Sergei Loznitsa’s ‘Two Prosecutors’ overcomes its rather telegraphed conclusion and its alienating structure to become a powerful historical drama that asks its audience not to forget.

It’s violent and silly enough to be mildly entertaining, although it’s punching below the original’s previously set standards. Ready or Not 2: Here I Come tries and fails to go big, and goes home as a reminder that less is more.

Directors Phil Lord and Christopher Miller are back at it again, this time adapting Andy Weir’s beloved novel ‘Project Hail Mary’, delivering a miraculously well-made sci-fi adventure that is as ceaselessly entertaining as it is achingly hopeful.

Writer/director Maggie Gyllenhaal takes aim at Mary Shelley’s beloved Frankenstein, with ‘The Bride!’ delivering her own inspired riff on the source material that while bold, audacious and singular, swings for the fences with an audible whiff.

What happens when three nuns and a young boy go on a journey across New Zealand? You get one of the best indie movies of the year in ‘Holy Days’.

Michel Franco’s ‘Dreams’ fails to meet the moment with a mostly empty erotic drama that takes a repulsive turn near its allegedly shocking denouement.

Ghostface and his iconic getup are back to terrorize Sidney Prescott yet again in ‘Scream 7’ - a fierce, fun, but ultimately messy sequel that shows a franchise that is beginning to show signs of wear and tear.

Awful in almost every conceivable way, ‘Psycho Killer’ is a note-perfect exercise in screwing things up from the get-go and never recovering as it trudges through a ridiculously inert conclusion.

Writer/director John Patton Ford returns with ’How To Make A Killing’, a deliciously entertaining tale of how the pursuit of money and status can corrupt and poison, which showcases yet another stellar turn from Glen Powell.

Thanks to incredible, career-best performances from Alexander Skarsgård and Harry Melling, Harry Lighton’s ‘Pillion’ overcomes a relatively conventional story with a transgressive approach to sexuality and offers a glimpse of a world audiences rarely see depicted in mainstream cinema.

Writer/Director Emerald Fennell returns with her third feature, this time tackling an adaptation of Emily Bronte’s beloved novel ‘Wuthering Heights’. With a fresh, unique approach and two perfectly cast leads, this adaptation hits the bullseye far more than it misses the mark.

After a long absence, writer/director Bart Layton is back with ‘Crime 101’, a refreshing and old-fashioned crime thriller that thankfully doesn’t waste a tremendously good cast.

Despite a well-mounted cast and a cogent subject matter that should theoretically work in the hands of such an assured genre stylist, Gore Verbinski’s ‘Good Luck, Have Fun, Don’t Die’ is an excruciatingly dull sci-fi comedy with a refusal to say anything meaningful.

Thanks to a deeply affectionate turn from Carmen Maura, Maryam Touzani’s ‘Calle Málaga’ will tug at your heartstrings and perhaps break you into a million pieces until you are renewed by a feeling of hope and tenderness. 

With an intriguing young cast, including Daphne Keene and Sophie Nélisse, and a somewhat original premise, Shudder’s ‘Whistle’ shouldn’t just be background noise. But it is.

After two decades, Sam Raimi finally returns with another R-rated feature in ‘Send Help’, a gnarly, ferocious return to form that will remind audiences what a wildly fun and singular filmmaker he is.

Despite star Charli XCX’s well-documented cinephilia, ‘The Moment’ struggles to find a strong cinematic identity