Rafael Motamayor

Demon Slayer: Kimetsu no Yaiba Infinity Castle offers plenty of action and some emotional flashbacks, but it suffers from an overuse of flashbacks that undermine the story's pacing.

With heavy inspirations from games like Dead Space and movies like Alien and The Thing, Flying Lotus' Ash is an ambitious, visually enthralling sci-fi horror movie. But its tale of a space station terrorized by a mysterious, gooey threat is otherwise empty and derivative, and takes too long to get going.

Paddington in Peru is ultimately a missed opportunity, but it's also a pleasant, entertaining-enough time.

The overstuffed "Despicable Me 4" abandons any pretense of caring about characters or narrative, choosing instead to fit in as many gags, characters, and little stories with as little consequences as they can.

“Haikyuu!!” makes this climactic moment come across as rushed. Due to the short running time and amount of story to cover, this movie is not for newcomers at all.

If you can look past Road House’s horrendous cinematography, CGI fights, and poor lighting, there's a fun movie to be found.

Craig Gillespie’s Dumb Money is neither dumb enough to capture the bonkers nature of the story nor smart enough to turn it into an entertaining or even informative tale.

In the end, watching Pain Hustlers is about as numbing an experience as being prescribed the drug Liza spent her career selling.

The mystery is a convoluted mess, clearly attempting to marry the intrigue of "Chinatown" with the escalating chaos of a Coen Brothers movie while failing to make things compelling, all while the wacky humor falls flat.

The problem is that, while Johnson crafted a good script that balances multiple tones, his directing isn’t as confident in that tightrope.

A Disturbance in the Force succeeds at telling the full story of how the infamous "Star Wars Holiday Special" was made. And yet, it doesn't really make the special look that bad in context.

Rather than the gritty drama of the first film or the delightful fantasy of the second, we instead get a dull romance with paper-thin characters, lame voice-over narration, and rather clean and puritan dance numbers, resulting in a film that feels more like an advertisement for the "Magic Mike Live" show than a movie.

This was an ambitious trilogy that tried to take the Halloween franchise to new places, but it ultimately falls short, introducing so many ideas that it quickly abandons, while forgetting about the one thing it was always supposed to be about: Laurie Strode.

Peter Farrelly's follow-up to Green Book is a war drama with some solid laughs and a great Zac Efron performance, but a manipulative script with ugly optics and boring visuals that never achieve the prestige it clearly wants.

Minions: The Rise of Gru will not usher in a new era of animation, nor change the way we treat prequels. What it will do is entertain kids with more Minions shenanigans, a fair number of fart jokes, and references to other characters in the franchise.

When "Final Cut" works, it's mostly because it just repeats what "One Cut of the Dead" did, and as ill-conceived as this film is, the jokes still land. Of course, that only says more about the success of the original film than this one. The problem is that, outside of the French market, it is hard to recommend this movie to anyone.

Ron’s Gone Wrong has enough ideas about our current relationship with technology and social media to bring about important conversations between parents and teens that are more than just “phones are bad,” while delivering a charming and at times laugh-out-loud funny story about a boy and his robot computer friend.

While it does some fascinating things with the zombie genre that we haven't seen since George A. Romero, Army of the Dead ends up bogged down by its own self-importance and forgets how fun it's supposed to be. Its promising opening credits sequence is so much better than the rest of the film.

Zemeckis turns this beloved, dark story into a campy, weird, yet still fairly entertaining kid-friendly story of accepting oneself. The problem is that it pales in comparison to what came before.

Extremely Wicked, Shockingly Evil and Vile has some interesting ideas about how little we know the people we love, and about the power of a celebrity cult status. But no matter how good Zac Efron’s performance as Ted Bundy is, this is the tamest way to explore such a complex and interesting story.