Alistair Ryder

He’s a director who has successfully made us face up to unimaginable darkness, but here seems to evade exploring it himself. It’s an unsatisfying misfire.

It's one of the weaker Evil Dead movies, but placed next to all the other horror legacy sequels we've seen in recent years, it's the cream of the crop.

Jackass: Best and Last is the weakest in the franchise ("Bad Grandpa," you are no longer the worst), and only as funny as it is because it relies heavily on classic slapstick set pieces that haven't grown old. It's a shameless cash grab, but more shameless cash grabs should offer the amount of laughs this one does.

Milly Alcock is a great Supergirl, and it's a shame her take on the character — and the inspired idea to reimagine her as a Western drifter — isn't served by this underwhelming solo vehicle. It's the first sign that James Gunn's DC Universe will be every bit as ill-conceived as Zack Snyder's.

It’s a movie in awe of the expansive bizarro universe it’s created out of the mundane everyday, and that alone proves infectious.

Director Marie Clémentine Dusabejambo’s film isn’t challenging for its harrowing, explicit descriptions of violence from victims, but for the way her screenplay (co-written with Delphine Agut) offers no clear resolution to inter-community tensions even decades removed from crimes.

While I wasn't left completely cold by Remarkably Bright Creatures, I found its tried-and-tested clichés far more enjoyable than its wilder idiosyncrasies.

The question remains whether a "Mortal Kombat" movie could ever be expected to be better than this, considering the limitations of the source material. That this sequel translates the simple beat-em-up thrills of the video game into something narratively functional is about as triumphant as it could possibly get for this franchise.

As an existential sci-fi, Project Hail Mary doesn’t live up to the mid-2010s blockbusters it’s attempting to emulate, but it does eventually soar when it allows the hangout buddy comedy to take center stage. It’s a gorgeous feat of practical effects on a gargantuan scale, but its biggest pleasures lie in the most intimate character moments.

If we're not poking fun at the inherent silliness of this, like a good "Scream" movie should, then all we're left with is a slasher too afraid to twist the knife.