Molly Freeman

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.

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 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.

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.

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.

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.

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

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.

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

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.

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.

It's a fun, but forgettable movie.

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.

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.

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

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

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

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

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.

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.

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.

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

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

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.

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.

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.

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.