Molly Freeman

Captain America: Brave New World lacks the entertainment of an MCU movie, despite compelling performances from Anthony Mackie and Harrison Ford.

All in all, Heart Eyes is a fine horror movie. It has a fun and unique idea, and the first act of the movie is very strong, but Heart Eyes loses its way and culminates in a middling-to-bad third act that squanders all the potential of the premise and beginning.

After nine years, Aaron Taylor-Johnson returns to Marvel superhero fare, but while Kraven the Hunter has potential, it's a middling origin story.

The Instigators is proof it can be very difficult to balance action, comedy and drama and nail a tone that fits the movie while still staying true to the genres. That said, the movie does have enough comedy, and a strong enough duo with Damon and Affleck, that it's still entertaining and fun to watch.

Though not Guy Ritchie's best film, The Ministry of Ungentlemanly Warfare has enough slick style and exhilarating action to be a helluva fun ride.

It's a fun, but forgettable movie.

Argylle is worth checking out for those interested, but don't expect it to be as good as Kingsman: The Secret Service, though it's certainly better than The King's Man.

The problem is that the film wants to be too many things. It wants to be an action/adventure that takes its characters to exciting locales, a heart-warming story of family, an incisive commentary on global warming, and a cautionary tale of how vengeance can consume a person.

The Flash is a passable multiverse superhero movie, but no amount of DC cameos can make audiences forget the awful off-screen actions of Ezra Miller.

Fast X is a breathless thrill ride that occasionally gets bogged down in melodramatic dialogue, but Jason Momoa's villain makes it a blast to watch.

The Super Mario Bros. Movie is chock-full of Nintendo Easter eggs—to the detriment of the story and its characters, which lack any real substance.

There is a great deal of cringe comedy in Not Okay and the actors all pull it off well. Shephard's social media black comedy is an entertaining film that may leave audiences thinking about their own relationship to social media.

Johnson and Hart have proved a formidable movie duo in the past, but without their usual on-screen charm, it's tough to get invested in the stories of Krypto and Ace. Even with their star-power and a slew of talented performers making up the supporting cast, DC League of Super-Pets doesn't offer much.

Despite a fine performance from Jared Leto, Morbius is a painfully mediocre superhero origin story, delivering a shallow recreation of better movies.

The 355 is an entertaining if unremarkable spy movie, with predictable story beats and mediocre action that's only somewhat saved by its strong cast.

Netflix's The Knight Before Christmas is a perfectly charming holiday rom-com, with plenty of time-travel hijinks and a valiant effort from its stars.

After We Fell is the pulpy, melodramatic and messy continuation of Tessa and Hardin's story that may appeal to diehard fans, but no one else.

Venom: Let There Be Carnage delivers some more of what works - Eddie and Venom's dynamic - though everything around them remains quite messy.

Like many of Netflix's original movies, Kate feels like another release that had potential to be good, but falls well short of the mark.

The Kissing Booth 3 is overstuffed and overcomplicated, but provides some shallow summer fun as the final chapter to Netflix's teen rom-com trilogy.

With energetic and thrilling action, Snake Eyes is a fun summer blockbuster, even if the movie's haphazard franchise setup leaves much to be desired.

Fear Street Part 3: 1666 wraps up the horror trilogy's story in a satisfying conclusion that's finally less homage and more its own original slasher.

Fear Street Part 2: 1978 is a fun enough riff on 70s slashers, but works better as the middle chapter in Netflix's horror movie trilogy.

Fear Street Part 1: 1994 is a perfectly fine throwback slasher horror movie, but is weighed down by setting up the rest of Netflix's trilogy.

Infinite certainly has the star power to ignite some interest, and it's an entertaining ride with a compelling concept. At the same time, it buckles under the weight of its own world-building and suffers from a surprising lack of urgency.

Reynolds has made a name for himself with fun action movies and, though this isn't necessarily his strongest or most successful franchise, it does deliver laughs and an exciting ride despite Michael Bryce essentially being the same character Reynolds has played countless times before. Even if Hitman's Wife's Bodyguard is absurd, it makes for the big, dumb fun movie experience perfect for the summer season.

Army of the Dead is by no means a must-watch zombie or heist movie, and folks uninterested in this film would be fine to skip it.

Moxie has some heart and teeth as its Riot Grrrl-inspired teens smash the patriarchy, but it's more love letter to Gen X than a call to arms for Gen Z.

Godmothered is a campy and heartfelt family-friendly Christmas flick, but ends up feeling like an adult rom-com shoehorned into a kids movie.

Soul isn't Pixar's finest or most resonant film, but its beautiful animation and soundtrack, paired with fun characters make for an enjoyable watch.

The New Mutants tries to offer a compelling blend of teen drama, horror and X-Men mythos, but ultimately fails to deliver a good entry in any genre.

The Craft: Legacy excels when reveling in its girl power witchcraft, but falls apart in the third act without a well-developed villain.

After We Collided is riddled with cliches and tired young adult tropes, but its dramatic romance and laughable dialogue offers some escapist fun.

Love and Monsters may not be a wholly fresh concept, but a clever script and Dylan O'Brien's charm make for a super fun adventure comedy.

More Millennial introspection than sci-fi movie, what Save Yourselves! lacks in world-building, it makes up for with charming relatable comedy.

Secret Society of Second-Born Royals is pure family-friendly fun, combining princesses and superheroes for a delightful, if unoriginal, adventure.

Enola Holmes is a little overwrought, but Millie Bobby Brown's charming heroine and Henry Cavill's fun Sherlock pull off all the twists and turns.

The Devil All the Time is a slow, sprawling thriller, unfurling with creeping tension, but the cast's performances are more rewarding than the story.

The Babysitter: Killer Queen is junk food entertainment at its most mediocre, delivering barely enough blood and fun without anything truly memorable.

Unpregnant delivers a fun and entertaining road trip comedy about female friendship and abortion, with compelling performances from its two leads.

Mulan is a perfectly fine live-action adaptation, delivering some Disney magic and gorgeous visuals, but it's ultimately just an average action movie.

The Binge is as ridiculous as its premise implies, which can be fun at times, while others it's a bit like a wild ride you wish you could get off.

Words on Bathroom Walls deftly balances being part romcom and part mental illness drama, offering a uniquely compelling coming-of-age story.

The One and Only Ivan has a good heart at the center of this mediocre animal tale, which never quite delivers on the requisite Disney magic.

The Silencing is a decently exhilarating thriller movie, even if the twists in the story aren't always well-earned or well thought out.

Netflix's Work It is bogged down by its trite and wholly unoriginal underdog story, but its charismatic young leads help the movie limp to the end.

The Kissing Booth 2 has some fun moments, especially for fans, but is ultimately an overwrought, overstuffed and overlong teen romcom sequel.

In Eurovision Song Contest: The Story of Fire Saga, Ferrell's typical schtick is on full display, but wears incredibly thin in this overlong comedy.

Infamous has a good balance of fun thrills and compelling drama that make for an entertaining watch.

The High Note is an enjoyable, if not particularly inventive, rom-com that's more infatuated with the music industry than developing its romance.

The Willoughbys is a mishmash of story ideas strung together by the idea of found family, but it's cute and quirky enough to keep viewers hooked.

Love Wedding Repeat is too cringey to be any fun and fails to deliver on its premise of multiple alternate timelines.

Disney's Stargirl is a mediocre teen movie about individuality and growing up, lacking the magic to make this manic pixie dream girl story work.

Bloodshot puts a surprisingly clever spin on the superhero origin story that's fun and funny, but Diesel's performance ultimately leaves it lacking.

Onward is a good, but not great Pixar movie, with a heartfelt, if emotionally manipulative storyline, and plenty of film magic to propel it forward.

Sonic the Hedgehog is a fairly middling family-friendly adventure movie, but a comparably good video game adaptation the belies a great deal of potential for a stronger, even more ambitious sequel.

Olympic Dreams' backstage look at the 2018 Olympics is much more compelling than the movie's bland and contrived romantic comedy storyline.

The Rhythm Section is wonderfully acted by Blake Lively and immersively directed by Reed Morano, creating a tense and mostly engaging thriller.

It's fun enough to keep audiences mostly entertained for its hour and 45 minute runtime, but there's nothing particularly memorable to latch onto - not the CGI animals, not the fantasy world and not even Downey Jr's performance.

There's a real sweetness at the center of the film, but Like A Boss surrounds that heart with middling raunch comedy.

Altogether Underwater is a middling movie that spans multiple genres, from sci-fi and thriller to action and horror, and can't seem to focus on any specific one.