Matt Donato

While Snatched stars big names in Schumer and Hawn, the ones you'll be remembering are Cusack, Meloni and Barinholtz.

Sand Castle is an Iraq war story about certain futility, but there's a certain redundancy to political overtones that preach what we've been hearing all along.

Greedy People is somewhat tonally amiss, but not long enough for the experience to self-destruct. It's a fine working backward whodunit from the inside out.

Screenwriter Scott Teems reflects on Leigh Whannell and James Wan’s Insidious franchise by showing the Lamberts after a decade’s worth of otherworldly traumatic repression, which disappointingly gets away from what’s otherwise made this series so sinisterly supernatural.

Screamboat isn't a good movie, but it can be an entertaining experience if you only care about indulgently bloody kill sequences.

Power Rangers doesn't completely fail as an origin story, but it's too familiar with its new-age reboot mentality that repurposes instead of recreates.

Vaughn sticks to what he knows with his Kingsman sequel but rarely ups the ante, making this a fun-enough entry into an already-too-familiar franchise.

Brightburn doesn't ask if you want blood, but you've damn-well got it in this nastily gruesome superhero hack-n-slash that's a nightmare for parents everywhere.

The Belko Experiment rides a gushing wave of carnage through the elevators of an unsuspecting office building, gleefully making wolves out of sheep.

Everything I’ve been asking for from a Resident Evil movie? Resident Evil: Welcome To Raccoon City accomplishes.

The Long Night’s understanding of horror genre fulfillment is nonexistent, no more satisfying than rice cakes with a little red food coloring splashed on to mimic spooky decorations.

Bloodshot shoots to kill, but with the accuracy of a Stormtrooper - off the mark and leaving much to be desired.

Aftermath may not say much, but Arnold Schwarzenegger's reserved performance is a somber turn that keeps drama surprisingly in-tune.

Wish Upon is a Final Destination redux that pulls too many punches.

Army Of One is a waste of talent across the board.

Quicksand swings and misses as the next buzzy nature-born thriller. Beltrán can never decide if he’s making an upscale SYFY B-movie or an overserious examination of marriages so stale that self-destruction seems the only answer.

Dark Phoenix takes arguably the most heavily thematic X-Men comic arc and delivers the most dully procedural, chopped-to-bits cinematic franchise entry in Fox’s mutant canon.

A Dog's Purpose goes the Collateral Beauty route by preying on sadness and not earning its emotional reactions.

Tank 432 does right in building battlefield tension without any gunfire or attacks, but misses its mark in neatly wrapping up yet another paranoid psychological thriller.

47 Meters Down is still the alpha of this franchise pack, but Uncaged's stealth "slasher but with sharks" structure is an approved and entertaining surprise.

Anaconda is a disappointing follow-up for Gormican, who cannot crack the code on Sony's bewildering aquatic not-really-horror reboot. A cast of proven funny people are lost in a thick brush of hacky bits and ineffective storytelling, unable to machete their way through to a redeeming climax. There are brief bursts of creature-feature excitement and belly-tickling humor, but way more stretches of bafflingly unclear ambitions that feel like they're struggling to keep the "movie within a movie" gimmick afloat. It's Anaconda without the aqua-horror chills, throwback practical effects, and midnight-movie entertainment—what an odd choice.

Scoob! is an enjoyable-enough start to the Hanna-Barbera cinematic universe, but may leave Mystery Inc. superfans feeling robbed of the Scooby-centric reboot that such a title suggests.

Office Christmas Party is a naughty Xmas comedy stuffed with enough ho-ho-hos and ha-ha-has to corrupt this holiday season.

Look into the eyes of My Father Die, and you’ll see honesty. Never once does writer/director Sean Brosnan go out of his way to present “revenge” as a worthwhile venture, as he evokes the beastly nature of such drastic measures.

Transformers: Rise of the Beasts proves that the Transformers franchise is accelerating in the right direction, delivering solid Autobots action and a solid voice cast behind the infamous robots in disguise.

Inferno feels every bit like the second sequel in an exhausted franchise, stunted by unfocused storytelling and a blandness that's almost sleep-inducing.

Franck Khalfoun’s often-rethought Amityville: The Awakening is sleepover background noise at its best, traceable genre road-mapping at its worst.

It may be messy, but the parts that matter go for broke with breakneck ambition.