Nate Richard

Dan Farah's directorial debut is the kind of movie that is bound to stir up conversation, especially if it ends up being bought up by a streaming service (this feels tailor-made for Netflix). Unfortunately, it's executed in the most bland way possible.

Landon has proven himself to be one of the best studio filmmakers in delivering enjoyable genre-forward movies, and Drop may just be his best movie yet.

The strange thing about The Accountant 2 is it's not the same gritty action movie that the original was. O'Connor still delivers some top-notch fight scenes, but this sequel, at its very core, is a hang-out movie, complete with a scene of Affleck awkwardly line-dancing at a bar. Yes, you read that right, and yes, it's as great as it sounds.

Death of a Unicorn is a delight; a clever, sharp-horned, and violent horror-comedy that demands to be seen on the big screen with an audience.

Similar to the original, Another Simple Favor manages to defy your expectations. It's a sequel that never feels hellbent on just repeating the same plot beats as the first. While it does get too cocky in delivering dozens of plot twists, the sexiness and soapiness are still there.

Unfortunately, Love Hurts never does its stars justice as a lazily slapped-together action-comedy with a script that feels like it never had a second draft.

It's a silly movie, make no mistake, but it's an endearingly one nonetheless.

Carry-On is pure escapist fare that you can turn on while sitting next to your Christmas tree, and it has enough energy that you won’t feel the need to check your phone every 10 minutes.

As your run-of-the-mill newsroom thriller, September 5 proves to be a riveting watch with two stand-out performances from Sarsgaard and Magaro and compelling direction from Fehlbaum.

It’s constantly trying to build its own strange mythology to set up sequels that might never come, cracking jokes that rarely hit, and struggling to decide whether it wants to take itself seriously or be more self-aware about its general absurdity.

Elliot’s stop-motion work feels authentic and unglamorized in ways that we don’t often see in many mainstream animated movies.

Young Werther isn't a terrible movie by any stretch, but it also feels like it relies far too heavily on your typical romantic-comedy clichés for it to stick out. It's a shame, as Booth and Pill are insanely sweet together, but the execution ultimately feels too unremarkable to be memorable.

Beverly Hills Cop: Axel ' perfectly recaptures the joy of the original two films and is powered by a joyful Eddie Murphy.

Kill is every bit as insanely violent as you could hope for. It mixes melodrama, romance, and an aggressive amount of violence in ways that few filmmakers are capable of doing.

Brats serves as not only an enjoyable walk down memory lane but also something deeper and more self-reflective.

While hardcore fans won't learn anything they didn't already know, 'The Beach Boys' documentary is a perfectly entertaining love-letter to the SoCal band.

Crowder’s documentary could have just felt like another puff piece and, in some ways, it can be. However, the movie always feels completely genuine and told from the heart.

John Magaro, Steve Zahn, and Dylan Baker lead a cast of stellar character actors in a film that winds up being one of the better Fargo-adjacent movies we’ve gotten in some time.

Arthur the King plays out like both your typical sports movie and your average dog flick. It's sometimes emotionally manipulative and full of melodrama, yet that doesn't stop it from being a perfectly fine way to spend 90 minutes at the movie theater, especially for dog lovers.

Ricky Stanicky could have easily been a disaster, but thanks to the cast, some effective laughs, and a big heart, it ends up making for an entertaining two hours.

Watching the movie is like seeing a concert from a seat in the back corner. You're still there for the music, but you have the view furthest away from the artist himself.

It's an action movie with plot beats that might make certain audience members raise their eyebrows and scoff, but it will have Statham devotees smiling, laughing, and cheering in their seats.

There's a sweetness buried deep inside The Family Plan, but it gets completely smothered beneath all the jarring and poorly cut action and weird subplots that lead nowhere. Outside a few chuckles and a likable cast, there's nothing that makes it stand out.

If you are looking for a light and fluffy holiday movie that you can stream with the whole family while sipping on some spiked eggnog, you can do a whole lot worse than Candy Cane Lane.

You can tell that everybody on the set of Old Dads was having an absolute blast making this movie. It's just a shame that the end product feels so directionless and bland. The attempts to be offensive fail, the emotional beats are never effective, and despite a handful of good laughs and amusing cameos, it's never that funny.

The End We Start From leaves the audience with plenty to ponder and think about alongside reminiscing about Comer's incredible performance.

Ezra is irresistibly charming, full of so much passion and care, and finds strength where similar films fall flat.

There's an interesting story in here, and a far better Keaton performance within it too, but it is the kind of thriller that lacks the tension and excitement that it needed.