Ferdosa Abdi

There aren't any surprises, and all that we are left with is a little bit of satisfaction and underlying curiosity as to why this movie was worth investing in.

It's a visceral experience, though it doesn't reach those epic highs because the romance, while it works on paper, doesn't quite materialize as expected.

Ultimately, Inheritance is a fairly good attempt to branch out into different technical abilities within the spy thriller genre. Hopefully, this method and films like Inheritance continue to inspire such attempts.

It's not outright terrible, but it's nothing to get too excited about, either. There's even a sweet subplot about mother and daughters and familial trust. It's an overall cute family movie and anyone who adores Diaz and Foxx will find a way to enjoy it.

Despite subverting expectations and being edgy in its approach, the lack of energy and fearlessness keeps this story from reaching its full potential. Weiss's directorial debut is not a dud, but charm can only get you so far.

Elevation comes across as a mild copycat rather than a compelling project that stands on its own merits.

This particular narrative is a sound idea but for a documentary instead.

The film has two major things going for it: Goldstein and Poots' casting and their characters' chemistry. The only thing that fully captures our attention from beginning to end is Laura and Simons’ undeniable spark and charming banter.

This story isn't the flashiest werewolf tale, but it is worth seeing thanks to a fresh perspective. As flawed as the story may be, the story from a child's eyes offers a new and unique entry point for the subgenre.

The Eternal City struggles with finding the tonal balance between a child-friendly action-comedy and an adult-appropriate action-comedy.

The film manages to be a very straightforward horror, but the lackluster character work diminishes whatever good comes from its genre shift, and the shift is substantial.

The return of Axel will satisfy fans of the franchise, and it might encourage those who are just tuning in to watch the original trilogy, if only to watch one of Murphy’s most significant roles from the 80s, a true golden era for the multi-hyphenate entertainer.

Much like The Mother, Trigger Warner is all setup with little payoff. The emotional sentiments are effective but drawn out in uninteresting ways, and Alba, a capable actress, is not nearly as charismatic as the middling script requires her to be.

Krieps has such a clear vision of who Vivienne is when she isn’t the object of romance, violence or intolerance. Her quirks and quiet dominance ultimately shift the film toward the direction Mortensen thought he was headed.

Mother of the Bride's success rests on the filmmakers' abilities to not oversell anything and trust that the collective charisma of the assembled cast will do what it needs to do — and it does, though a flimsy script and one major miscast can be distracting.

It's entertaining, and there are a few chuckles to be had. One can appreciate the referential and situational humor as they are timely and apt for the characters. Lester and Gentry are a winning combo.

The lack of specificity around the situation and the underbaked character development reduces Azrael to being nothing more than a horror with an interesting premise.

The script is mind-numbingly silly and, at times, doesn't try to elevate the remake meaningfully; it's really about engaging with the wild action and nothing else.

The most glaring issue with Spaceman is that the leap from page to screen leaves quite a bit of the story behind and saddles its lead actor with much of the heavy lifting.

While Bloom and MacDowell anchor the film with their strong performances, leading an ensemble cast that is foundational to this rugged Western, the score by Mondo Boys and cinematography by Johnny Derango do a lot to embed the themes and concepts into the atmosphere of the film.

Everything in American Star hinges on McShane's intuitive performance that rejects the obvious and embraces ambiguity.

Badland Hunters may not be a worthy successor to Concrete Utopia, but it is an entertaining zombie actioner.

The ending feels way too cookie-cutter perfect. Scrambled is a worthwhile experience, though, as it is a personal tale that aims to empower through laughter.

The film is, unfortunately, just another instance of the book being better than the movie.

It's the right amount of romantic, funny, and thrilling, and it does what it needs to do to make its narrative feel less derivative and more dynamic and fun.

Best. Christmas. Ever! is not the most splendiferous Christmas movie ever, but it will satisfy those hungry for new sentimental holiday movies every year.

Despite the lack of kinetic energy and well-developed characters, the movie offers a rather humorous take on the art world and its criminal underbelly with characters that are enjoyable to watch.

Memorable? Hardly. Entertaining? Somewhat. Ultimately, the film will resonate with the people eager to devour more Stephen King-inspired projects; sadly, there is nothing genuinely inspired to enjoy.