Ross Bonaime

Stanton has done truly incredible, groundbreaking things in animation, and he’s almost certainly got a great live-action film in him, but In the Blink of an Eye makes one wonder if Stanton should go a bit smaller and work his way up to such grandiose concepts like this.

The budget might have ballooned to ten times what Terrifier had, and the kills have gotten far more gruesome, yet Terrifier 3 is still the same mixed bag that this franchise has always been.

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.

What starts as a more violent Mr. and Mrs. Smith takes an unexpectedly brutal turn, becoming borderline unamusing. Taccone pushes himself to try and break from his usual comic mold, but with Over You Dead Body, he ends up pushing too far.

Godzilla x Kong is a vacuous de-evolution into monster-on-monster action but also arguably the best possible version of that transition. There’s no doubt that this is fairly moronic, but it still manages to be an improvement over what we’ve seen from the last two installments in this cinematic universe.

Chumbawamba was clearly a band that wanted to do great things and fell short of that goal, and similarly, I Get Knocked Down is a curious concept to explore, but gets bogged down in its apparent attempts to be weird for the sake of being weird.

While Luhrmann can do his best to recreate the glitzy, nonstop nature of Presley’s life, in those final moments, it’s easy to see that Elvis lacked the weight that this real footage captures. It’s that little bit of substance that reminds how hollow the previous hours of style have been.

Moonfall, unfortunately, becomes a mixture of Emmerich’s usual clichés that are starting to show their age, a script that only occasionally embraces the insanity of this idea (even though the third act goes all-in on getting mind-numbingly stupid), and a scope that doesn’t do this story justice.

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.

If anyone could’ve updated this story for 2023, it’s Barris—as he's shown with black-ish. But instead, You People is a missed opportunity, a half-assed reinterpretation that is only sporadically funny, and without the heart or the substance that this story would need for it to truly work.

Yates makes Pain Hustlers part-rowdy dramedy, part-half-assed takedown, and entirely an underwhelming film that attempts to make apparent and bland points.

Beyond these two endearing actors being able to gleefully chew the scenery, The Gray Man is mostly a collection of tired spy tropes, directed in a muddled and baffling way, that seemingly exists to set up what seems like will be a fairly unimaginative franchise.

With The Son, Zeller is trying to bring the same sincerity he brought to The Father into his second film, and instead, The Son unfortunately feels false throughout.

Disney has been at the forefront of animation in film for much of its 100 years and their legacy is unparalleled. That’s a lot to put on the shoulders of any animated film, but Wish, with its mundane celebration of this history, is a disappointing commemoration of these accomplishments.

There is potential within the Shazam! films that have never quite been met. Especially with this latest installment, this often feels like DC’s attempt at having a Spider-Man-esque character in their roster, and if you squint, you can almost see that possibility.

Possibly the biggest surprise to Luck is just how generic and uninspired it feels, despite how many ideas are crammed into this story. There’s no wonder, no excitement, no jokes that land.

Disenchanted posits that happily ever after isn’t always the ending of the story, but Disenchanted also proves that sometimes, maybe it should be.

Finestkind has all the right pieces to make an interesting drama, but Helgeland can’t get them together in a way that isn’t over-the-top and downright silly.

García’s latest film is a predictable, completely fine, but uneventful dramedy that never quite finds a way to dig itself out of mediocrity.

After a decade away, Jeunet has returned to embrace all of his worst eccentricities to create an absurd mess.

The vibe of Him is trying to make the audience unnerved, but the story and imagery being presented are too goofy to take this attempt seriously.

Blood and Honey 2 still isn’t exactly “good,” and it might be a bit premature to start working on a sprawling Poohniverse, but considering the dregs this series began at, this is a flawed improvement that’s still a bear of little brain.

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.

Seinfeld has made a directorial debut that ends up feeling like a bowl of sugary cereal: not a terrible thing to eat, but not as fulfilling or substantial as you might’ve hoped it would be.

The Gallerist is a disappointment, especially considering that Yan’s last movie as director was the vastly underrated DC film, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) from 2020, a hyper-stylized, playful, and unconventional take on the superhero genre. It would’ve been wonderful to see that version of Yan here, creating an unhinged look at the art world that was experimental, spirited, and daring in the way that film was.

There are fractured elements that, with a little polish, could’ve been something much more, but this is just a generic, unremarkable horror film.

Unfortunately, Bubble & Squeak far more often embraces the ridiculous more than the realistic, and ultimately struggles to combine these two into a whole that works.

Winner is a bold idea that almost immediately proves itself to be a misconceived mess.