Nate Richard

The latest action-comedy from Black proves that he's still capable of delivering an equal parts funny and action-heavy comedy with all the trademarks that make us love him as a filmmaker.

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

The Lost Bus may not reach the heights of some of Greengrass' finest work, but that's a high bar to reach. Thanks to some immersive setpieces, grounded performances, and stellar direction, the latest film from Apple TV+ rises above its shortcomings, resulting in a gripping docudrama that is worthy of your time.

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.

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.

With two movies under their belt, Statham and Ayer have proved to be the perfect match for delivering entertaining and simple action flicks to the big screen.

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

So while the familiarity is felt throughout, it's hard not to cheer, chuckle, and cringe at all the chaotic mayhem that unfolds in Nobody 2. It's not trying to be anything other than an ultra-violent late summer action flick, and if you go in expecting to watch some gnarly kills, brutal fist-fights, and gun-fu, you'd have to think pretty hard to feel disappointed.

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.

Its talented cast and tender heart do a lot of the heavy lifting, but it's the kind of movie the mothers in your family will absolutely love.

After proving herself as a director on TV shows like Stranger Things and Severance, Briesewitz has delivered a promising directorial debut, with fascinating characters and takes us on a journey to a world that we don't often see in American films.

Foxx shines in every single moment that he's on-screen. He's able to hone in his comedic prowess and his dramatic chops delivering a performance that reminds us why he's a one-of-a-kind performer.

80 for Brady is not the new golden standard of sports comedies, but it was clearly never trying to be. It's cute, silly, and light, all things that a comfort movie should be.

Ghosted is far from perfect, but there's still enough enjoyment to be had, especially if you're looking for something light to watch with the family on a Friday night. Evans and de Armas are charming as ever alongside a rock-solid supporting cast. There are enough laughs and fun action scenes to warrant a recommendation, just don't expect much more from it.

Hell of A Summer might not have the most original premise, but Bryk and Wolfhard are fully aware of that, creating one of the most entertaining and crowd-pleasing slasher films of the 2020s.

National Anthem may at times feel a bit too simple, but the craftsmanship and the core performances are enough to make it worth a watch.

Insidious: The Red Door might not be the scariest installment in the franchise, but it feels a lot more human than the others before it. The character moments end up feeling more effective than some of the film's big set-pieces and, while that may bug some genre purists, those who have stuck around since the first film released over 10 years ago will be pleased.

Ash feels too familiar, which is disappointing coming from such an idiosyncratic filmmaker like Flying Lotus. This material feels like it's too derivative to be effective, but the video game-like atmosphere, bonkers direction, and reliable cast make it far more watchable.

It features terrific performances from Roberts and Garfield, but even they are not enough to save the film from being too muddled and morally ambiguous for its own good.

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.

You know every single beat of how their relationship is going to turn out, but because of how cute the dog is and how cute Deschanel and Cox are together, you can't help but buy into it. They're great together, and their charm elevates a script that could have easily been translated into yet another streaming Christmas romantic comedy.

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.

Iron Lung is far from a perfect movie, and the pacing ultimately makes the conclusion feel exhausting rather than exhilarating or shocking. You'll be ready to leave once the credits roll. Yet, the craftsmanship is there; with his directorial debut, Fischbach shows that he's more than just a YouTuber, and he can conjure up the same kinds of scares that make him scream as he's playing games.

It's a perfectly watchable movie that feels designed to keep you entertained for two hours on a rainy Sunday afternoon.

It might not be a future genre classic, but thanks to Courtney's utmost commitment to his villainous role, you'll be glad you dipped your toes in the water by the time the credits roll.

Even with its faults, The Beanie Bubble isn't a bad way to kill some time. All four leads remain gleefully committed to their roles and bring the kind of energy that the screenplay is lacking, but it never fully justifies why this story needed to be told in this way.

The Machine has enough going in its favor to warrant a recommendation to fans of Kreischer's stand-up comedy, but other audience members may walk out feeling empty.

Tow isn't a movie that anyone will outright hate, but it squanders so much of its potential that it fails to deliver the important message that it wants to share.