The Pedal Push Car 

The Slumber Party Massacre wonderfully combines the suspense of its horror with its commentary on gender, creating a memorable slasher classic that began a horror trilogy entirely written and directed by women.

Even without the messaging, Mercy does not hold up as a movie. It's sloppily done and the mystery doesn’t tie together at the end.

"Godzilla vs. Kong" is all style and very little substance. It's also the most fun I've had in months.

Ultimately the problem with The Bubble is that it plays everything for laughs to get around the audience’s defenses. But it comes off like a privileged white male thinking that ridiculing everyone else equally is the road to equality. And it’s not. And it's definitely not funny to pretend that it is.

The Roses is a wickedly sharp marital warfare comedy that transforms domestic dysfunction into high art. Olivia Colman and Benedict Cumberbatch deliver powerhouse performances as a couple whose fairy-tale romance implodes when his architectural career collapses just as her culinary empire takes off. What makes Jay Roach's remake so devastatingly effective is its refusal to pick sides—both spouses are equally sympathetic and monstrous, wielding Tony McNamara's razor-sharp dialogue like weapons forged from shared intimacies. It's a film that dares you to laugh at relationship wreckage while forcing you to confront the uncomfortable truth that the line between passionate love and mutual destruction is terrifyingly thin.