Molly Freeman

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 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.

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

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.

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.

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.

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

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

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

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.

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.

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

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

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.

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.

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.

While Lowery's film is ripe for interpretation, and will no doubt be better received by those who enjoy that style of filmmaking, those wanting actual answers will find frustratingly little satisfaction. Mother Mary is, at heart, more about vibes and style than anything else.

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

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.

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.

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.

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.

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

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.

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.

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.