Ross Bonaime

Englert has talent, and there's ambition and chunks here that work in bits and pieces, but unfortunately, Bad Behaviour is too scattered and too unfocused to add up to much at all.

Adams and McNairy give two fantastic performances that showcase the confused, overwhelming situation that first-time parents find themselves in, and Heller juggles this fantastical high-concept idea with very real emotions and powerful statements.

Deadpool & Wolverine is a shot in the arm that the MCU needed, and finally shows the full potential of Ryan Reynolds' Deadpool.

For a story that should be brimming with intrigue, danger, and the horrors of inventing your own reality, The Wizard of the Kremlin is instead a bloated, tiring recitation of facts that doesn't know how to elevate its dark subject matter.

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.

Beyond some decent performances that aren’t done justice by this script, and some fairly wild leaps into horror, Forbidden Fruits isn’t ripe, it’s just rotten.

But even though Fast X is spread too thin, and we’re starting to see the consequences of this ever-expanding family, it’s still a blast to watch.

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

By cutting back and simply sticking to the thrills and the madness of this situation and little else, Bay has made one of his best films in decades.

Daniels explores the hopelessness of depression, the little miracles that truly make life worthwhile, how acts of kindness can be an extraordinary asset, and—most fitting to this film—how it’s OK to be a mess.

Cameos and fan service are fine to have, but the story has to be there to back them up, and it’s not quite there with The Flash.

The key to what makes this newest retelling work is the combination of Ferrell and Reynolds, both of whom are able to play to their comedic strengths, while also having the opportunity to do some solid dramatic work as well. This duo is delightful, and as they work together on Christmas Eve, it’s wonderful to watch how this relationship shifts.

Even if The Musical isn’t always a hit, it’s worth it when the film does find its high notes.

Maslany can effectively react to shadows and reflections, and Perkins can navigate this cabin to maximize its horror potential, but without the screenplay to back them up, this just becomes a curious experiment without much focus.

Beast has its flaws and is mostly by-the-numbers, but if the idea of Idris Elba fighting a lion is something that is of interest to you, then Beast is going to deliver.

Kosinski has already made one of the year's best movies with Maverick, and with an extremely intriguing concept and fantastic performances all around the board, Kosinski has for the second time this year made one of the best movies of this summer.

Kung Fu Panda 4 is a film all about deciding to not do the easy thing of remaining stagnant and comfortable, but rather, trying something new and hopefully finding the greatness in the new opportunity. Kung Fu Panda 4 similarly does this, attempting a new approach to this world and mostly finding success, while also potentially setting up the future of where this series could go.

Like the family at the center of the film, Nutcrackers is rough around the edges, but it's lovable in a shaggy way.

No Other Choice is yet another great film from Park, and one of the best dark comedies you'll see this year.

Simply put, Cocaine Bear is exactly what you want. It's a film that knows that it's ludicrous and relishes in the wildness of watching a cocaine-fueled bear go nuts on Blood Mountain.

By focusing on the gray between the good and the bad, and with a scale and scope that the other films never quite had, The Ballad of Songbirds & Snakes might just be the most engrossing film in this series—and almost makes one wish there were more stories here to be told.

Empire of Light ultimately becomes a confusing mixture of ideas that never congeal into one solid narrative. Yet Mendes’ film does have the tiniest slivers of magic poking through the seams, proving his thesis about the beauty of film, even when he’s too distracted to focus on that idea himself.

While it’s certainly great that Daniel Day-Lewis is back in his element, and Ronan Day-Lewis can craft impressive, imposing imagery, Anemone is just too much empty space, waiting to be filled with something.

Intriguing moments of animation experimentation and a new batch of characters just aren’t going to be enough to keep this series worthwhile. Right now, Trolls is going in one direction, and it needs to shake it up a bit more to make things in sync again.

Even though the brutality is seemingly never-ending, we never dull to the constant barrage of pain—both physically and emotionally. Yet when Fuqua and Collage aren’t focusing on the cruelty of this world, the film stops dead, lumbering through the motions, complete with derivative choices, characters, and dialogue.

Landscape with Invisible Hand is certainly a mixed bag that isn’t nearly as tight as Finley’s previous work, but the bold attempt to make something so unique and singular makes this wild story ultimately work.

Dunham's latest has a particularly game cast, and a solid concept, but Dunham makes this feel like a collection of mismatched ideas and inconsistent characters.

A little more full-throated absurdity and humor would've been a great step for the film to take. Ultimately, The Moment is a delightful spotlight for Charli XCX as an actor, and the concept itself finds some playful ways to expand on the lore of of her massively successful album. "brat" is dead. Love live "brat."