Marshall Shaffer

Rise of the Beasts proves that Bayhem is still strong within the series. Worse, the parts that linger are not the visual signature of sweaty, sun-streaked bedlam. It’s the noisy, nonsensical insistence that submission to sensory overload should outrank any other storytelling consideration.

Guns Akimbo glides on the strength of Radcliffe’s work, which is equally committed to selling a self-deprecating verbal barb as it is to executing an extended bit of physical humor.

There's good reason to be excited for how Green will bring this all to a head in his grand finale. Halloween Kills manages to put a playful but petrifying spin on mythology without resorting to cheap self-referentiality.

There’s more to recommend than not here, thanks to Nathan’s keen visual eye and Jupe’s complex interpretation of a figure often flattened into a neat function.

Call it “naïve-core,” perhaps, as the film so thoroughly loses touch with reality by avoiding conflict of any kind. His empty platitudes like “humans help humans” are rendered useless and risible inside a work that seems to lack even a basic understanding of humanity in 2008, 2025, or any time at all.

Like a Spider-Man pointing meme doomed to continue eternally, ‘Dominion’ points to the terrifying possibility that nostalgia might serve as a renewable resource for Hollywood. (Ironic, given the fossil-fueled power of ‘Jurassic.’) Trevorrow gives audiences what they want – or, at the very least, what the studio bosses at Universal think they want. But at what cost?

Argylle proves hollow from the inside out.

It’s unclear if Steffen & Flip believe in a hell for their characters. But their 85-minute torture device disguised as a movie proves they believe in one for their viewers. Not even cheese ‘n’ rice can save this dismal enterprise from doom.