Aidan Kelley

Unfortunately, Lee Cronin's The Mummy is so focused on replicating other horror movies and relying on familiar tropes that it honestly has very little in common with the bandaged monster it's supposed to be about.

War Machine does indeed struggle to stand out in a crowded subgenre of alien invasion movies, but it also does enough to likely satisfy action and sci-fi fans. There are glimmers of brilliance with Ritchson's surprisingly nuanced performance in the lead role and at least one truly great action sequence, but just about every other aspect falls into "just fine" territory.

While the film's reliance on established crime stories dips a bit too much into the realm of cliché, the overall result is a thrilling ride that's fun to watch, from its quietest character moments to its loudest chase sequences.

Luc Besson's Dracula is weird. Really weird, borderline nonsensical at certain points. That being said, its great take on its title character is enough to call this one of the Leon: The Professional and The Fifth Element filmmaker's strongest in recent years. It takes a lot of swings, and while not all of them hit, it nails the stake in the heart of what makes this story so timeless and special.

It may not be the terrifying marvel some Raimi fans are hoping for, but it's still an entertaining enough watch that makes an SOS unnecessary.

The overall result is a wonderfully emotional and poignant documentary that is a must-watch for aspiring actors or anybody interested in the acting process who wants to see just how much it impacts somebody's personal life.

It will make you cry, it will make you uncomfortable, but at the end of the film's runtime, it will leave you with a feeling of profound satisfaction that even the most heartfelt movies struggle to replicate.

With how prevalent the film's themes are in the world today, it's hard to imagine that someone won't find something to relate to in its many branching story arcs.

Anaconda had the premise and bones to be something really special when it comes to meta remakes. It had a great cast and a surprising amount of heart, but that's simply not enough to save the movie's rough pacing and pointless subplots from the jaws of a giant snake who barely appears on the call sheet.

Where the first movie left fans satisfied with the bare minimum, and non-fans bewildered with boredom, the second installment will likely leave fans even happier and non-fans satisfied with a solidly entertaining robot slasher.

The direction that The Carpenter's Son is charting is the right one, as there are some moments of genuine intrigue, and it's not always clear if the titular character is going to fall into the path of the dark side or take on a more noble path. However, Cage's supporting role and the rest of the movie's more meandering moments and subplots, including a rushed ending, prevent it from being heralded as the enduring cult classic that a lot of Cage's other recent hits have become.

All of Wright's movies only get better and better on every rewatch, given the immense attention to detail, and revisits of The Running Man will undoubtedly garner more appreciation for a movie that's already one of the most crowd-pleasing pictures of the year.

It may not necessarily reinvent the wheel as far as modern-day technological thrillers go, and only time will tell how the movie will age. But Influencers is still a slick and stylish sequel that exemplifies everything that made the first movie such a fun watch and then some.

Pitfall doesn't reinvent the wheel or drastically change the game, but it deserves credit for being a crowd-pleasing slasher.

In an environment where meta horror is all the rage, Big Baby doesn't reinvent the wheel, but it does check all the basic requirements. It's got a strong hook and premise, a character and a villain who are easy to connect with, and some pretty gnarly kills and effects to boot.

Appofeniacs may not be packed to the brim with wacky action scenes and tense horror sequences, but when those moments do come along, they're executed with great finesse from behind the cameras.

If you're looking for a narrative and humor that matches the heights of the first movie, you'll likely walk away disappointed in how it takes such a hard pivot towards mean-spirited and juvenile attempts at shock value, leaving the heart and relatable stakes of the original completely in the dust.

The sci-fi thriller certainly has some bumps along the road, but a dedicated performance from Jessica Rothe helps amplify it into an intriguing ride that cleverly showcases the actor's impressive range.

It's got enough charm and entertainment value to keep fans of Brando entertained and satisfied from start to finish. In short, Billy Zane makes Waltzing With Brando an offer that's hard to refuse.Waltzing with Brando is in theaters now.

That being said, if you are part of that target demographic, Spinal Tap II: The End Continues has a lot to enjoy. That's especially true when the film shows off a few surprisingly heartwarming moments, which were definitely not as prevalent in the original story.

Fixed has the stylish hand-drawn animation that Genndy Tartakovsky is so well-known for, but the juvenile humor feels beneath a filmmaker of his stature.

The Naked Gun's joke-per-minute ratio is truly astounding, and the fact that so many of them hit as well as they do makes that even more impressive. For goodness' sake, even the credits have jokes in them!

Those hoping to see their favorite killer Fisherman tackle some fun action sequences will get their money's worth, even if the villain's resolution will raise a lot of eyebrows. If you're looking for something deeper, like fleshed-out characters both new and old and a twisted mystery tale, then this newest installment doesn't hit the mark.

There's some fun to be had here, but overall, Jurassic World Rebirth feels indicative that this franchise is not dissimilar from what the original film is trying to say about the ethics of cloning dinosaurs.

Predator: Killer of Killers encapsulates much of what made the original such a classic, with surprises around every corner and characters that are easy to root for.

The undeniable likability of Ben Wang keeps things from sinking, and the marvelous action sequences mark a strong start to Jonathan Entwistle's feature filmmaking career.

Lilo & Stitch feels like it was made by a boardroom of folks who wanted to sell more Stitch merchandise. Chris Sanders and Maia Kealoha have enough charm to keep families entertained, but it's also hard to deny that these two characters are just as, if not more, endearing in a film you can watch right now on Disney+.

Under the right circumstances, the story that The Trouble with Jessica tries to tell could work if it paired its comedy with a meaningful perspective on depression and self-harm. Instead, this misguided take on a dark comedy ultimately lacks laughs, thrills, and overall reverence for severe topics.

Where Wick Is Pain takes things a step further is with a deep dive into the difficulties of making a movie in general, not just a big flashy neon-laced action flick.

It may not reinvent the wheel for tightly-knit actioners, but Fight or Flight still sticks the landing for a crowd-pleasing and chaotic thrill ride.

The result is one of the best films of 2025 so far, successfully capturing the grim, brutal, and unpredictable nature of warfare that only a handful of feature films truly have.

It's a real shame that The Alto Knights doesn't explore its real-life story as thoroughly as it should have, as there is a genuinely interesting story to tell here. The film details historical events that didn't just dramatically impact the shadowy world of organized crime, it changed the public perception of the Mafia forever. The Alto Knights perhaps would have been better served if it had been a documentary narrated by one Robert De Niro instead of a meandering feature film that stars two.

It may not reinvent the proverbial wheel on the proverbial boat, but Plankton: The Movie is one of the better things to come from the SpongeBob SquarePants IP in recent years that fans should have an easy time falling heads over squeaky boots for.

While the documentary of the same name might be able to capture the more human elements better than any adaptation could, the technical marvel of this feature film's underwater sequences is well worth diving into.

Suffice it to say, Captain America: Brave New World is not the 2025 start that Marvel fans may be hoping for, with more pressure now being put on Thunderbolts* and The Fantastic Four: First Steps. If anything, the film has more in common with Sony's disastrous attempts to make its own Marvel movies than it does with the prior entries that turned the MCU into what it is today.

The two leads are so charming, the jokes are genuinely funny, and the kills are delightfully gorey.

Midas Man may not go on to become as influential as the individuals it has as its subjects, but it's still a decent enough crowd-pleaser that is safe, entertaining, and just the right amount of twisty and shouty.

The film does show that Gomes is capable of making an authentic period piece and a stunning documentary, but the attempt of trying to do both at the same time has led to an unusual experiment that will leave one scratching their head.

The predictable story would be forgivable if Bad Shabbos' execution of this darkly comedic crime caper had a truly excellent execution.

This wonderfully personal story is filled to the brim with a seemingly endless reservoir of laughs and tears. It's an experience that won't just have you liking Bob Trevino Likes It, it will have you loving it.

Twilight of the Warriors: Walled In is still a more than competent, entertaining, action-packed ride, even if it's not the most original in terms of its plot.

The easy winner out of Armand is Renate Reinsve. . . The runner-up is Halfdan Ullmann Tøndel. While his methods for bringing this story to life are a bit overly perplexing and too head-scratching, there is a clear talent for filmmaking on display here that makes his career one to watch with great and serious interest.

From Ground Zero is important because it puts the spotlight on an issue far more important than making movies.

Instead of exploring a twisted version of a magical realm, this pseudo-trip to Neverland keeps things stuck in the real world that the kids of these stories are usually trying to escape.

Its relatable story is what really makes Sacramento a film that's worth revisiting again and again for its charming fable about the price of friendship and fatherhood.

Its genuinely difficult to think of a better feature debut in recent memory than How to Make Millions Before Grandma Dies.

The main central path brings with it a rewarding story that boasts the risks and payoffs of falling in love. The other thinner side paths on this road, unfortunately, frequently lead to dead ends despite being ripe for genuine expansion.

Jim Carrey is the real star of this trilogy. Carrey's signature brand of improvisational comedy serves him well once again here, as his gleefully cartoonish villain continues to be a highlight of his recent acting works.

While better than its prior installment, Mufasa: The Lion King still feels like an unnecessary prequel to an unnecessary remake.

Kraven the Hunter's bland storytelling, subpar acting, and staggering technical issues are proof that the Spider-Man IP needs to be protected before it becomes an endangered species.

War of the Rohirrim's storytelling woes might mean this isn't the epic return to Middle-earth that many Lord of the Rings fans may have been hoping for, but that's not to say the film's not without merit.

A solid performance from Jason Patric does give the film a little bit of extra mileage, but weak action and an utter waste of Sylvester Stallone's talents as both an actor and action star bog the film down in too many issues to count.

An Almost Christmas Story is a clear homage to the bygone era of holiday storytelling. Its attempt to emulate that era does admittedly lead to some familiar beats, but An Almost Christmas Story has enough charm and personality to make up for that.

While the film does make an admirable effort to focus on Neeson's action hero as a true character rather than a mere blunt instrument for fight scenes, but thanks to an overly cliché screenplay, the movie will likely be another forgettable action film in Neeson's filmography.

In an era where film discourse on the internet is consistently restrained to binary concepts like "it's just good" or "it's just bad," Chasing Chasing Amy is an impressive reminder that discussions on the art of filmmaking can be much more nuanced.

The timeless style, the gorgeous animation, and the impeccable music make Wallace & Gromit's second feature film a gleeful experience from start to finish. It doesn't reinvent the wheel or do something particularly bold and unique like The Curse of the Were-Rabbit, but it also isn't really trying to. This is a straightforward family-friendly adventure that is simply effective and effectively simple.

Is Venom: The Last Dance the best film in the trilogy? I would say so, and I'd be lying if I said I didn't have quite a bit of fun while watching it.

While it may not be essential viewing for fans of the anime series, there's still more than enough in My Hero Academia: You're Next to keep both longtime fans and eager newcomers intrigued.

The lure of some solid '90s nostalgia should be good enough bait for a compelling story, but unfortunately, the only thing that Monster Summer reels in is a story that we've all heard a hundred times before.

If you're a hardcore Hellboy fan, The Crooked Man has enough to keep you engaged. If you're looking for something a little bit more in your dose of Big Red, you might be better off waiting for the next inevitable reboot.