Scott Campbell

Without a shadow of a doubt, it’s very much a costly, star-studded, explosive attempt to build a brand new IP from the ground up that the company can call its own, but it’s impossible to shake the feeling that we’ve walked down this exact road many times before. Make of it what you will, but the end product is exactly what you think it’s going to be, for better or worse.

Shang-Chi and the Legend of the Ten Rings isn't top-tier MCU, but it's a solid origin story anchored by two fantastic performances from Simu Liu and Tony Leung, as well as some of the franchise's best action.

It’s either a compliment or a criticism to say that you need to be on the exact same wavelength as Big Gold Brick to get a kick out of it, because if you turn the dial even the tiniest little bit in either direction, all you’re going to end up with is static. If you’re on board, though, then there’s plenty to enjoy about an offbeat adventure that’s unlike anything else you’re likely to see this year.

Black Widow isn't going to go down in the history books as top-tier Marvel Cinematic Universe content, but it's not too bad at all.

As an experience, Avatar: The Way of Water is second to none. In terms of the storytelling, though, James Cameron has fallen into the exact same pitfalls as he did on the first visit to Pandora.

No Man of God doesn't tell us anything about Ted Bundy we didn't already know, but it's a riveting drama anchored by two phenomenal performances from Luke Kirby and Elijah Wood.

The spirit of Stuart Gordon is alive and well in Suitable Flesh, with Joe Lynch picking up the baton and delivering both an ode to his inspiration and a riotous horror comedy in its own right.

The Electrical Life of Louis Wain is a biopic every bit as off-kilter and bizarre as the protagonist, but despite all of the whimsy and eccentricities, it finds itself missing a spark.

It’s a film of maddening contradictions, missed opportunities and half-taken risks, but it’s destined to be one of the year’s most polarizing and talked-about releases regardless.

The ambition often outweighs the execution, but Totally Killer is still a fun and bloody riff on several different genres at once.

Copshop isn't quite the movie the trailers paint it to be; It's definitely a worthy first meeting between Gerard Butler and Frank Grillo in the action genre, but Alexis Louder is the one who really steals the show.

Cruella isn’t perfect by any means, but it’s an altogether different kind of Disney blockbuster that pivots from origin story to heist thriller via family drama and a pastiche of the cutthroat fashion industry with consummate ease, all anchored by a tour de force performance from the leading lady.

Indiana Jones and the Dial of Destiny is a solid action-packed blockbuster that ticks all of the franchise's required boxes, even if it isn't quite a farewell worthy of a cinematic icon.

Extraction 2 is everything you'd expect it to be; bigger, bolder, brasher, louder, and more spectacular. Unfortunately, it peaks way too early and fails to recapture that early momentum.

Fast X doubles down on everything longtime fans have come to know and love about the franchise, but anyone who isn't sold on the saga at this stage isn't going to be won over.

It might be way too long and suffer from many familiar problems, but 'Ambulance' still has enough action-packed thrills in the tank to rank as Michael Bay's best movie in years.

Despite some third act wobbles, A Lot of Nothing marks a strong, stylish, and suspenseful debut from co-writer and first-time feature director Mo McRae.

Violent Night delivers everything that was promised, and it's destined to find long-lasting life as a cult classic, but there's barely anything of note beyond the superficial.

There’s definitely something vastly superior that was agonizingly close to being unleashed, but as it stands, Kosinski and his collaborators have delivered a solid summertime Netflix original that’s destined to play extremely well for the next couple of weeks, albeit one you almost certainly won’t hear anybody talking about six months from now.

Zack Snyder’s Justice League is excessive and overlong to the point that trimming anywhere up to an hour would have elevated it significantly, but it’s still a triumph of circumstance, style and execution.

We Have a Ghost shows plenty of ambition as writer and director Christopher Landon broadens his horizons, but it never feels anything more than a series of disparate parts failing to come together as a satisfying whole.

There’s also an earnestness and unashamedly goofy quality to the whole thing that might even win over some of the actor’s longtime naysayers.

Kandahar finds Gerard Butler doing what he does best, and while there are some admirable attempts to deviate from formula, the end result isn't going to be regarded among the action hero's top tier.

The Last Voyage of the Demeter makes a decent attempt at reinventing the Dracula mythos, but foregoing the early tension in favor of all-out action proves to be its undoing in the end.

Beckett is a solid Netflix effort that offers a throwback to the intense political manhunt thrillers of the 1970s.

Operation Fortune: Ruse de Guerre delivers exactly what you'd expect from an R-rated Guy Ritchie spy caper with Jason Statham in the lead role, with the offbeat and energetic espionage adventure worthy of at least a sequel or two.

Malignant is messy, chaotic, ridiculous and quite possibly the most insane movie you'll see this year, but James Wan doesn't just know that; he uses it to his advantage.

Day Shift just about gets by on its impressive action sequences, but everything else about the vampire horror comedy feels more than a little lacking.