Devan Coggan

The result is a brutal piece of speculative fiction that highlights the ugliness of war — even if it never quite lives up to its provocative premise.

The final result is a messy but memorable effort, with Stan, Pearson, and Reinsve giving performances that are anything but skin-deep.

It’s a brutal, bloody, and discombobulating ride, but boy, is it a blast.

A film that grapples with the legacy of the Holocaust doesn’t exactly make for automatic comedy, but Eisenberg deftly juggles the film’s shifting tones, evoking real laughs in some scenes while maintaining a somber respect in others.

As haunted house stories go, Presence is more interested in lurking dread than bloody jump scares, slowly ratcheting up the tension with long, uninterrupted takes.

American Society can’t decide whether to go full biting satire or charming rom-com, and as a result, it fails to do either genre justice.

Not every gag lands, but Thelma is the rare spoof that’s both laugh-out-loud funny and disarmingly sweet.

It’s a hyperspecific vision of the Bay that won’t connect with everyone, and in truth, Freaky Tales seems destined to be more of a cult favorite than a genre-hopping blockbuster. But even with all the psychic energy and violent revenge fantasies, it’s the performances that help keep this tale grounded.

Wish is so obsessed with the past that it fails to add anything new of its own. If you’re going to pay tribute to 100 years of Disney magic, you can’t forget to save a little magic for yourself.

Solid performances are overshadowed by chaos. Yates brought magic to the Wizarding World, while here, he stuffs Pain Hustlers with voiceovers, freeze frames, and black-and-white mockumentary talking heads. These are gimmicks that have been done before — and better — in films like The Big Short and now just feel derivative.

It's Gerwig's care and attention to detail that gives Barbie an actual point of view, elevating it beyond every other cynical, IP-driven cash grab.

Even among all the sex jokes and vulgar one-liners, Joy Ride boasts a real beating heart. It's a raunchy (and occasionally familiar) ride, but it's well worth the trip.

No Hard Feelings is a welcome addition to a dwindling genre — and a reminder that Lawrence is one Hollywood's best (and funniest) leads.

The film version is an utter delight, a loving adaptation that's both true to the book and endearingly fresh.

It’s a fun, pulpy premise, but sadly, the film takes a route that’s too silly to be taken seriously and too tame to be any fun.

Benson and Moorhead masterfully ratchet up the sense of unease, before the third act takes a turn for the truly terrifying.

Henson clearly has the swagger, charm, and ferocity to make one hell of an action star. She deserves a movie that does her talents justice.

A delightfully heartwarming tale about everyone’s favorite marmalade-loving bear.

Ayer and Landis’s world is so dull and ill-conceived that few will want to spend any additional time there. It’s a world of magic that lacks any of its own.

Unfortunately, Ferdinand buries the original story’s message under frenetic action scenes and grating sidekicks, turning a classic tale into just another flat animated comedy.

The Snowman is completely bereft of either style or emotion.

The film shines, however, as a taut courtroom drama.

Both are on the autism spectrum, and filmmakers Dan Sickles and Antonio Santini chronicle the pair’s love story in touching, captivating detail.

Can’t decide whether it wants to be a chilling survival movie or a sweeping romance. It never fully commits to either genre, and the result is a forgettable adventure that leaves you feeling cold.

As Hurley and Rapp race against the terrorists, the plot is too dumb to be taken seriously and too self-serious to be any fun.

Marjorie Prime in itself feels not unlike Walter’s hologram — almost real and almost human, but not quite flesh and blood.