Ferdosa Abdi

Unwelcome is many things — entertaining is one of them. But with little focus on what actually makes this film worthwhile, the result is disappointing.

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

All in all, Creation Stories is by no means a loss, it's just missing that special ingredient that would transform it into a film worth being excited about. Instead, it could have simply been a spirited documentary narrated by Bremner.

It does not reinvent the wheel, but it engages viewers on a visual and cerebral level. There is a precarious balance between the heavy themes of the script and the upbeat nature of this Bad Boys-esque action film, but somehow it sticks the landing.

The best action sequence comes at the end, which bolsters the film's best use of camera movement and editing to highlight the fight choreography.

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.

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.

The Royal Treatment is ultimately benign fun. It is sweet, simple, and boring.

The film is at its best, visually and narratively, when it is deeply entrenched in metal. There is a visceral impact to the third act which truly hones in on what this film has been lacking from the beginning.

Sure, the film may feel somewhat tepid in places, and it meanders, but the overwhelming wholesomeness of the picture will make one embrace its simplicity.

As the film marches to its conclusion, one will have some appreciation for the rotoscoping animation, the score, and the voice work from some of the actors. However, the murky narrative structure and the lack of a central protagonist only works against all the gory goodwill the film possessed.

Ultimately, The Pale Blue Eye feels like more of a missed opportunity than a story worth enjoying on its own. As far as historical fiction goes, the film fails to capitalize on its central historical figure, especially with Melling’s performance a beacon of light.

Spy Kids: Armageddon is creatively deficient. With each new Spy Kids project, Rodriguez mines an empty cave; there is nothing but dirt and hopeless dreams.

As a film birthed from the pandemic, the presentation already feels outdated. There is an attempt to revitalize the format, but it falls flat. All in all, the family dramedy has all the right pieces, but, like any dysfunctional family, they don’t come together in the most cohesive of ways.

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

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.

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

Ambitious ideas and stunning visuals do not make for a great film, but Millepied should consider following his instincts to fight for an all-dance musical for his next feature.

The story is simply a rehash of the first film, and even the jokes begin to fall flat well before the halfway point. Hocus Pocus 2 is enjoyable, but it doesn't quite live up to the lightning-in-a-bottle moment that was the 1993 film.

The synopsis sounds straightforward, but there is a lack of balance from the start, and the film has an ill-mannered approach to telling a sensitive or impactful story about sex trafficking.

Without offering anything particularly interesting or nuanced, The Guilty still has enough to keep audiences engaged and on the edge of their seats.

Clock showcases that Jacknow is a talent to watch in horror, though the film doesn’t stick the landing. Occasionally, the concept is stretched too thin, especially when the character work is lacking.

One Way won’t carve a place into the crime thriller pantheon, but its most notable achievement should be setting the stage for Andrew Baird and Colson Baker’s inevitable rises in the film industry.

Knights of the Zodiac, despite its reasonably minor flaws, is fun.

While the film is romantic and poignant in parts, the whole thing falls apart when it relies on the central couple, who lack intense chemistry and substance.

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.

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.

There are some good moments in Shotgun Wedding. Lopez, Coolidge, and Lenny Kravitz are game and there is a Herculean effort from the trio to do something worthwhile with the script they are given.