Daisy Ridley is Ophelia, and Ophelia is not dead, in this bland YA gloss on Hamlet

Annabelle Comes Home plays the Conjuring franchise’s greatest hits

Danny Boyle stops short of making a musical out of the Beatles songbook in Yesterday

Angel’s comic-book revival pits the vampire against a social media monster

Captain America showcases Ta-Nehisi Coates’ superhero evolution

Vertigo’s Imaginary Fiends bundles X-Files and Monsters, Inc. with a very serious creep factor

The wacky criminal underworld of Judgment is frustratingly indifferent to your existence

Mortal Kombat 11 is the ideal Mortal Kombat game: Cheesy, violent, and self-aware

Capcom’s Resident Evil 2 remake is bold, confident, and unapologetically outdated

The apocalypse is insufferable and excessive in FKA USA

With his debut story collection, Raphael Bob-Waksberg is trying to mend your heart

It’s Harry Potter meets Megan Abbott in fantasy noir Magic For Liars

Bruce Springsteen tries to lose himself under the cinematic scope of Western Stars

Left-field cameos fuel Flying Lotus’ latest odyssey, Flamagra

Relationship status with Morrissey’s new covers album: It’s complicated

The deliciously nasty Vampyr feels like a game from another era

Far Cry 5’s nihilistic ending tries to take the rest of the game down with it

Ni No Kuni 2’s final hours bring a conventional ending to an unconventional RPG

With Dr. Strangelove, Kubrick shot a brilliant satire like a straight thriller

Fantastic Planet looks as strange today as it must have 40 years ago

Jean Renoir’s path to greatness began with La Chienne

Wyatt Cenac’s latest album finds the funny in world-weariness

Taylor Negron isn’t exactly himself on this posthumous collection

On Effable, Guy Branum imbues observational humor with personal pain