Ross Bonaime

Blue Beetle brings a breath of fresh air to DC with its focus on smaller stakes and family dynamics, standing out just enough from other superhero films.

For all its faults, Mickey: The Story of a Mouse is at times a charming look at one of the biggest icons of our time, and while this story has been told many times before, it’s never been told with the sort of scope and frankness about how Disney has maybe failed with their mascot.

Good Burger 2 certainly isn’t a masterpiece, but Kenan & Kel still have the special sauce that makes this film work.

Waititi’s latest isn’t bad by any stretch, and isn’t close to his worst (again, Love and Thunder, watch your ass), but as a sports film and a comedy, it is fairly average.

The Sky Is Everywhere takes a lot of swings that miss, but the heart of the film is in the right place, and when it really works, The Sky Is Everywhere knocks these emotions and ideas out of the park.

Lightyear is still an extremely fun action sci-fi film that is better than most animated films released in a given year, and will bring a smile to fans of this character.

Gillan gets a great opportunity to show her comedic skills, and Stearns remains a solid purveyor of dark comedy, but Dual’s gloom eventually overtakes the absurdity to a depressing degree.

Berg’s documentary is at its strongest when it focuses on the musical legacy that Buckley was so concerned about that he would leave behind, and less so when it tries to delve deeper into who Buckley was as a person.

There are a lot of fascinating ideas Green is throwing into Opus, and it's obvious that this is a fully realized concept that he's worked on for years; not only in the script, but in the extra work he's done in fleshing out this world. Still, we don't see enough of that work come across in the finished product, and the ideas here come off as muddled, failing to connect with the audience beyond a superficial level.

Watchmen: Chapter 1 is a compelling curiosity, but never matches the power of its source material, and, if anything, should make people turn to the graphic novel instead of checking out yet another adaptation.

The Friend's heart is in the right place, but it can't get out of its own way.

Kiss of the Spider Woman is yet another decent adaptation, but even Condon's visual panache and scale can’t quite elevate this story to greatness.

As entertaining as Until Dawn is, it’s fairly light in most regards, other than the kills. While the characters in the game had more time to have intricate connections to one another, these five are fairly one-note.

Pretty Lethal is at its best when it’s a straightforward film about bloody fights and survival. This isn’t the most complex concept, and when the movie tries to include unnecessary details, it stops the narrative dead in its tracks.

Spaceman is a rocky journey, but in times like these and thanks to Sandler’s performance, it’s often worth the trip.

Like the title character himself, Jay Kelly is a film that has good intentions, but doesn’t have the follow-through to make good on those promises.

Beyond the ‘90s references, Y2K is an underwhelming, but mostly entertaining movie that never quite goes as far as it should with its concept, comedy, or the relationships between its characters.

The Luckiest Man in America is a strong story when it sticks to the facts, and Hauser is undeniably an excellent choice for this role, but the film really presses its luck by taking such huge liberties with the facts.

As a ridiculous tale of a celebrity trying to make himself matter, Sacrifice is quite a bit of fun, but any attempt to make a larger point falls flat, just like so many films before it.

A House of Dynamite begins explosively, but unfortunately, it ends up fizzling out.

It’s an experiment that only works here and there, yet when it works, there’s beauty in those rare moments.

A Big Bold Beautiful Journey tries to be too big and too bold, when it’s the smaller moments in which this film becomes a beautiful journey.

As it stands, The Roses has its charms, but it could’ve used a few more thorns.

Granted, the footage itself and the intense quest to save these eight still make Hanging by a Wire a documentary worth seeking out. It’s just one that doesn’t have as much depth as one would hope.

Springsteen: Deliver Me From Nowhere can’t shake what we know about the biopic, but it does at least create some moments and provide some decent performances that make the audience forget about those clichés, at least temporarily.

It is an ambitious flurry of ideas, and while it doesn’t entirely work, there’s an extremely promising filmmaker within Chainey.

For Andrews, Bring Them Down is a capable, intriguing debut, but it needs more depth than this revenge tale has to offer.

Drive-Away Dolls, the solo directorial debut of Ethan Coen, is an occasionally charming road trip comedy that never quite reaches the wit and brilliance of other Coen projects.