Ross Bonaime

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.

In its own way, Persuasion is trying to persuade its audience that Austen was brilliant in her modernity, when Austen already handled that quite well without Cracknell, Bass, and Winslow’s help.

Black Adam isn’t a full-on course correction for the DCEU, but it is an encouraging new installment in this larger universe. Collet-Serra knows how to present this darkness and antihero in a way that’s effective, while also fleshing out one of the most promising additions to DC’s ever-expanding cadre of characters.

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.

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

If the 1940 Pinocchio showed that any wish your heart desires could come true, this remake shows what happens when your nightmares come to life.

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.

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.

Dominion isn’t just the worst film in this frequently disappointing franchise, it’s also one of the worst major blockbusters in recent memory.

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 story might be thin, and some new characters might not get the attention they deserve, yet The Super Mario Galaxy Movie remains a charming, often hilarious, and playful testament to the greatest video game franchise of all time.

Scream used to poke fun at the silliness of horror movies and laugh at the genre's clichés, but now, it’s indistinguishable from the films it once gleefully lampooned, in what is easily the worst installment so far.

Glenrothan is cloying at times, but more often, irritating in its presentation of a story we’ve seen so many times before, done poorly.

Imaginary is a mess of a horror film, with poor narrative choices, obvious twists, and clichéd characters.

With bad direction, terrible acting, and a world that has no weight behind it (especially since most of it was clearly made in a computer), this isn’t the way to bring Silent Hill 2 to the big screen. This powerful survival horror story has been turned into an ugly, laughable adaptation that proves that maybe we should’ve never gone back to Silent Hill.

The Bubble feels like the least personal film Apatow has directed so far, a film that seems like more of an excuse to just do something during the pandemic, instead of Apatow having something to say.

The Strangers: Chapter 2 is a true disaster, one of the worst horror films of the year, and it’s a damn shame this is what this franchise has come to.

If Day has shown anything with Fool’s Paradise and the long road to get it made, it’s that he has passion and a vision, and a dedication to making a project that works for him. Fool’s Paradise might not work as well as it should, but fingers crossed that Day keeps at it.

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.

Freelance, like Cena’s Mason, wants to be something more, but maybe it should’ve settled for something a little more simplistic and straightforward and found the joy in that.

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

This Strangers trilogy was an ambitious concept that quickly became a disastrous failure that completely misunderstood this series to begin with. Even after all this build-up, this final chapter fizzles out to an underwhelming conclusion of a journey that wasn’t worth taking to begin with.

What could've been a halfway decent dumb idea becomes a full-on nightmare of bad choices and terrible filmmaking.

The Swearing Jar is a decent idea, but the screenplay and editing draws attention to itself in a way that takes away from the film’s biggest moments—a shame considering these moments could’ve been extremely effective if handled in a slightly different way.

By the end of Hate to Love: Nickelback, it’ll be hard to hate these four guys, and in some ways, that’s sort of the point—putting a human face on a band that is often seen as little more than a meme.

A Goofy Movie remains an understated film in the Disney animated film canon, and Not Just a Goof wonderfully reminds us why this is a film that deserves far more attention than it ever received.

The Sun Never Sets is a charming take on the love triangle and a strong return to movies for Swanberg. The mixture of Fanning, Johnson, and Smith works well, and this romance is handled quite nicely without becoming frustrating with all its relationship back-and-forths.