Chase Hutchinson

It seems like Over Your Dead Body is caught between deconstructing itself and just going through the motions.

Even with some perfectly fine comedic gags, Power Ballad can never overcome the emptiness of its characters and the equally flat, overlit visuals that make the entire thing look more like a bad TV episode than an actual film.

All you’re left with is the echo of what was better before. You watch only able to wish Weaving was given more to work with than this, or, at the very least, greater room for her iconic scream to rattle you once more.

In the Blink of an Eye is a disaster of its own making, living in the shadow of far better sci-fi films of old, and never doing anything interesting with any of the ideas it throws out.

Credit where credit is due to Wicker, it’s not every day you get to see an Oscar-winning actress mount a Hollywood heartthrob made into a literal wicker man. Alas, despite the novelty of seeing icon Olivia Colman climb a towering Alexander Skarsgård like a tree, the magical fable within which this happens is not only regrettably far less fun than this description sounds, but an oddly wearisome affair.

Though there are flashes of more chaotic comedy that get the pulse racing here and there, for the most part Chasing Summer is a surprisingly safe genre riff.

Each time you think you’re seeing the daylight of something potentially better to explore on the horizon, “Buddy” keeps dragging you back into the banal darkness. Like the kids, you deserve far better than whatever this lackluster production amounts to.

Lopez, while certainly dancing all the right steps, is only ever a composite of a movie star who feels trapped in a surprisingly stiff production. She deserves better than what the film gives her, but there’s never a moment when she gets it.

Indy is a delight who can do no wrong. Though the film around him is not always as assured, he is a star who has earned all the pets and treats a dog could dream of. After all the nightmares he had to endure this film, he more than deserves it.

What could’ve been a fun little sci-fi horror transforms into something that deflates any remaining tension and engagement in one fell swoop.

An engaging enough dramatization of the true story of a man who became known for spending months hiding out in a Toys “R” Us to escape capture after robbing businesses by coming in through their roofs, Derek Cianfrance’s “Roofman” is also a regrettably safe film defined by missed opportunities that ultimately steals any deeper resonances it could find right out from under you.

It succeeds about half the time, making for a split decision where Sweeney and Christy both emerge as champions while the film itself can’t quite go the distance.

Even as Reinhart does solid work with the shaky material, her character remains adrift in a meandering psychological thriller that offers only a superficial look into her psyche.

For every interview there is with a journalist offering more of this, there is one that just meanders with a notorious influencer that should have probably been cut.

Despite a strong performance from Nick Offerman, Sovereign is a film that’s inescapably slight and with little to say with its painfully relevant story of modern extremism.

Pearce does have a good sense of how to direct actors and give the story something closer to genuine tension in how patient he can be in the focused dialogue scenes, though the story itself is too shaky for him to hold it together.

Where a lesser film could fall into feeling like it is just hitting issues without exploring them, Young Mothers always grounds the bigger issues in real characters. It finds genuine emotion in capturing how this is not something abstract, but a reality with which they’ll have to contend.

There are plenty of silly recurring jokes and a collection of quirky characters, but it all exists to cover up just how empty the film itself is at its core.

It’s a feel-bad film like no other where you have to squint for even the smallest sliver of hope as we, along with the characters, get put through the wringer with little potential for salvation.

That there is a genuinely clever current running through it about the cinematic history of sharks and the fear they hold in our imagination is just a little added bonus that offers a bit more to chew on.

It’s a film in search of a character whose sole saving grace may be that it leads its audience to read Sapienza’s work for themselves — because the movie doesn’t do her or her legacy justice.

Despite its title, it’s unable or unwilling to surrender itself to being more than just another celebrity documentary.

It’s the exact type of film that you could see a new generation of kids finding and causing them to fall in love with movies.

Until Dawn is more disappointing than deadly, leaving all the promise of the horror game behind for a jumble of horror-movie re-creations.

It’s just that while you can’t see any of the strings being used on the effects, you can see the story being manipulated. You may fall in love with Ochi all the same, but you can only wish you’d gone on a richer journey together.

For all it throws at you, it’s neither consistently funny nor scary enough to leave a mark.

While Landon has made fun genre outings before with “Happy Death Day,” “Happy Death Day 2U,” and “Freaky,” Drop is, at its best, never more than just down the middle. At its worst, it’s an oddly clunky experience that strands its performers with little to work with.

It is her performance that ensures every tonal shift lands as it goes from playfully comedic to delightfully dark and back again. Despite how overstuffed and unwieldy it gets, seeing Kidman work her magic at every turn will never not be a joy to see.

Another Simple Favor is a sequel that never makes a case for its existence. It’s many of the same jokes that serve less as callbacks and more as reminders of how much more fun the first film was.

It is a film you won’t fall head over heels for, but one you can’t help loving many parts of. You’ll just have to do your best to fondly recall the good parts, namely Quan and Lynch, while hopefully forgetting all the rest.

A sporadically interesting though ultimately superficial exploration of online connection, video games, and modern alienation, writer-director Flora Lau’s Luz is a film in search of something greater than it is never quite able to grab hold of.

Rabbit Trap finds some occasionally effective moments of atmospheric dread and sadness, only to leave those moments stranded.

It’s Never Over, Jeff Buckley doesn’t do much of anything new with the documentary form, though still excavates plenty of interesting details within a familiar package.

More a forced, one-note farce than the sharp satire it’s trying to be, Atropia is almost impressive in how it manages to allude to so many complicated subjects surrounding U.S. militarism without authentically skewering or even poking at any of them.

In a world that often rewards mediocrity where true artistic greatness is hard to come by, a work like Opus had the potential to be a defining movie of our current moment, but the film’s half-hearted swipes at celebrity culture are never sharp or incisive enough to get under the skin.

Even with a more gleeful performance by Kate Hudson, Shell is merely a fine film that’s far too tame to completely pay off.

You can practically see the more complicated layers of the two men through the eyes of the performers alone, but they’re both left staring at a story that almost stubbornly refuses to excavate them.

For every moment where it seems like it’s getting somewhere more thoughtful, it will dance away into something else, lacking focus even as it remains faithful to the rather short source material.

It may not always come alive in the way Heller, or us, would entirely hope for, but one can still be glad “Nightbitch” exists, especially with Adams there to lead the way. In every facet of her performance, she paints a full portrait of a character herself figuring out who she now is.

Slingshot is more of a murky mystery where the big revelations don't hold up under scrutiny.

Andra Day delivers a commendable performance as matriarch Ebony Jackson, but the entire experience is neither scary enough as a horror film nor insightful enough as a drama to leave a mark.

There is just enough magic that it discovers by the end to give it a closing spark, but there is a mighty long road to get there, ensuring it all just remains merely okay as opposed to comprehensively good.

All through the scattered experience, Page is a shining light. Every move he makes gives the film something greater that it is never able to grasp.

My Spy: The Eternal City is an underwhelming action-comedy sequel that is best as a covert coming-of-age tale, but more frequently suffers as a grab-bag of tonality that abandons what helped My Spy succeed in the first place.

The film does pull out all the stops for the finale but, for nearly every moment it stands tall in this conclusion, it also stumbles and falls in the getting there.

I see dead people in this film, but their cause of death is simply boredom.

Though it assembles some of the right ingredients before laying them out before you, it never proceeds to arrange them in any particularly interesting or entertaining way.

Bionic is another sci-fi dud for Netflix, bringing nothing new to the genre and not much more to its action sequences.

A lot is going on all at once, but little of it coheres into anything substantive, let alone actually memorable or meaningful.

Much like the city being built in the film, it’s all more interesting in theory than it ever is in actuality. Now that we will all have the chance to take it in for ourselves, the greatest revelation is that there just isn’t that much there to see.

From a talented cast in Léa Seydoux, Louis Garrel, Vincent Lindon, and Raphaël Quenard to an initial willingness to be ruthless in tearing apart the messy art of moviemaking, it could have been something truly great. nstead, just when you think this movie about making movies is starting to get somewhere interesting, it reveals itself to be only a sporadically funny satire with a surprising lack of teeth.

The performances are all giving the necessary punch even when the writing is not. It may frequently get lost in its own narrative woods, but Bana manages once again to bring it all back to humanity.

It wants you to buy into the heart and the humor without earning either.

[Bartholomew] gives us insights into her character more naturally than some of the occasionally forced dialogue, showing us glimpses of her increasingly fractured mind through an embodied performance. Even when the film doesn’t fully capture the spirit, the spell she casts gets awfully close.

Sting is a horror movie about a killer spider from outer space that somehow falls short of the fun potential of such a premise.

There are masterful works of horror that have proven less can be more. Despite some of its promise, Baghead is not one of them.

While the title promises fire, the only riddle remaining is where the adventure it was searching for ended up disappearing to.

Even at just over 90 minutes, it quickly runs out of steam and can only coast along.

There is something occasionally charming about Outlaw Posse. Alas, charm can only get you so far when a film resembles more of a scattered work of cosplay than a robust cinematic work.

The Sweet East ends up saying quite a bit, though little leaves any real impression.

Out of Darkness is an often jaw-dropping horror debut that arrives at a more substantive conclusion that makes everything more interesting in retrospect.

This supposed breakout strains to be edgy while remaining painfully inert. It initially makes for a sporadically fun game to play before revealing how little it has on its mind.

It takes a group that bumped up against the boundaries and instead just operates within them.

After pushing up against the confines of a conventional musical biopic, it does end up mostly operating within them, hitting all the notes you’d expect it to hit, but that doesn’t mean it doesn’t ring mostly true when it counts.

Foe, the beautifully shot yet scattered lo-fi sci-fi mystery thriller starring Saoirse Ronan and Paul Mescal, is not a good movie. However, it is an interesting one.

When creative directors are given the chance to take big swings and actually do so, the result can bring about nightmarish experiences unlike anything out there. The glimpses of this in V/H/S/85 serve as a reminder of the value of the series and the visions it can ultimately provide a home for.

For all the promising threads it pulls on surrounding a variety of faith traditions, The Exorcist: Believer doesn't earn your belief or your fear. Where Friedkin's classic will endure forever, this superficial sequel remains stuck in the past. It may try to speak all the same verses, but it doesn't add new life to any of them.

There are moments of terror near the beginning, but it gets far too tangled up in a generic narrative that drowns out any sense of vision. Even with some striking visual moments and excellent sound design, it is all in service of regrettably very little.

For all the fun that the cast seems to be having with Dicks, it’s never as creative in execution as it needs to be. There are chuckles to be had, but the overall experience is defined by narrowness rather than naughtiness.

The cast is sufficiently fun and the remote location a proper backdrop for the offbeat story to play out. It just never brings all its pieces together, revealing that the greatest paranormal force haunting the entire affair is the ghost of a better film.

For all the classic horror stories it gestures at, Killer Book Club never is able to tell a memorable one of its own. No matter how many empty escalations and confrontations with the killer it makes its way through, the real clown show is the film itself.

As a complete portrait of youth on the cusp of the rest of their lives, it never manages to be authentically sharp enough to transcend the more tiresome narrative trappings it falls into and a grating over reliance on musical cues as punchlines.

For a film about a supposedly historic and harrowing journey to the moon, it never manages to charter any new territory of its own.

All the clear love the film has for the references it is throwing out is never molded into anything memorable of its own.

For all the ways Botet and company put their hearts into giving it some life, the film is persistently defined by death of not just its characters, but of creativity itself.

It is a film that sets out to sink its teeth into something a bit deeper and more inventive only to merely serve up an experience with little to actually chew on.

The texture that gives vibrancy to these types of understated stories just isn’t there, ensuring that what little there is to grasp onto soon slips away as well.

Despite how transgressive and inventive Dalí was as an acclaimed artist, Dalíland is content to create a story that plays it all too safe.

Even without the questions about the veracity of the story, its rah-rah style makes it feel superficial rather than sweeping. In the end, Flamin’ Hot comes across as a selling of a story and a brand rather than a genuine retelling of one.

While there are many promising pieces being assembled, with arresting visuals bolstered by the performances of Mescal and Barrera, any awe to be had in Carmen becomes dashed by its own emptiness.

Though possibly well-intentioned, the execution of The Covenant ensures its narrative and thematic potential is drowned out in the roar of gunfire it becomes far too enamored by.

There is never a sense that Collette is phoning it in, but the entire narrative around her is just too flimsy to hold together for a full feature. In isolation, there are some solid gags and throwaway jokes that connect. The trouble is that they are just increasingly few and far between. It all makes for a film that oddly feels like it is playing it safe, relying on the charisma of its lead and offering little else beyond that.

When it then shifts into being about the case itself with the characters trying to get to the bottom of it all, the humor feels like it is mostly coasting off of the chemistry of Sandler and Aniston. This can hold things together for a while as both bounce off each other effectively, but the film soon is revealed to just be a recycling of jokes the first film already did better.

Neither wacky enough to be a winning comedy nor clever enough to be a horror sendup, We Have a Ghost is a film that leaves little to grasp onto as it all just ends up slipping through your fingers.

While Snook does all she can to give the experience some heft, Run Rabbit Run is a horror film in search of something greater others have already achieved that it is never able to find.

For all the ways it takes flight towards the end, Plane is an action flick that is mostly plain, the greatest sin for any film that should and could have gotten wilder.

If written well and with the same care as its direction, this could have conveyed a sense of more genuine tragedy. Regrettably, for all the ways the performances try to eschew convention for a bit more substance, it is a losing battle from start to finish.

For all the ways that Darby and the Dead tries to give its abundantly safe story some life, it can’t break free of a narrative hellbent on dragging it to the grave.

There is a cacophony of sound and color which provides some spark to it all. It just is burdened by unshakably tiresome plotting that is made all the more meaningless when it decides to walk back much of what already felt far too small in its creative and emotional scope.

The problem is The Curse of Bridge Hollow isn’t clever enough to carve out a niche of its own and is defined by the diminishing returns of derivative genre riffs from start to finish.

Whatever joy you get in individual moments is lost in the shuffle of a film that far overstays its welcome.

A familiar underdog story made engaging by the flashes of patience with which it approaches its material, Sanaa Lathan’s On the Come Up doesn’t reinvent the wheel as much as it tries to roll along with it.

For all the anticipation about this being a star turn for Styles, the lack of depth in his performance and of the film itself ensures it won’t leave nearly the impression it set out to.

For all the promise of its main cast and sturdy thriller premise, The Menu is a work that seems destined to slip from your mind.

It is a thriller that frequently flirts with becoming an out-and-out horror film only to never quite arrive there. The result is a middling work that is occasionally interesting, as we see how it attempts to strike a balance between these two distinct ideas. Regrettably, it ultimately can’t hold itself together when it counts.

There is a good film in The Harbinger that we catch glimpses of in moments of horror and the conversations we do get to see play out. It just is struggling to break through the uncertain confines of the story it is trapped in.

There is a good film in here that could be made more present if the story itself was punched up as much as the enemies are. This is unfortunate as every dynamic moment of deadly destruction is undercut by ones that are ultimately uneventful.

It is a work that is so caught up in the noise that it drowns out the moments of the profound silence that could have spoken to something more.