Scott Campbell

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.

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

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.

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.

Once again, the director and his co-writers Gemma Hurley and Jed Shepherd have made the absolute most of the minimal tools at their disposal, wringing a surprisingly robust hybrid of intense chase thriller, splatter film, and absurdist horror comedy out of a shoestring budget. However, DASHCAM is a lot more uneven than Host despite the superior production values, but they do combine to form what might end up going down in the history books as pandemic horror’s premiere double-feature.

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.

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.

The tonal balance isn’t an easy one to pull off, and filmmakers vastly more experienced than Crocker have tried and failed, so praise is due to the key creatives for taking something that sounds familiar and perhaps even formulaic on paper, but repainting it as an engaging, emotionally-driven genre film that both is and isn’t what you think it’ll turn out to be.

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

The Tomorrow War isn't as good as it could have been, but it's an entertaining enough sci-fi action blockbuster.

Last Looks doesn't bring anything new to the table, but it's a fun crime caper that makes us want to see Charlie Hunnam's Charlie Waldo again.

Halloween Kills is a huge comedown compared to its predecessor, offering plenty of blood, guts and gore to satisfy fans but little for everybody else in a by-the-numbers slasher sequel.

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.

Taslim, Sanada, Lawson and the gloriously R-rated fights elevate Mortal Kombat significantly, no doubt, and you can slap on another star if you’re a longtime fan of the series, but newbies will be left largely unimpressed.

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.

Winstead is nothing short of fantastic in terms of both her physical and performative presence, but she could have really used a meatier journey to sink her teeth into.

The Invitation aims high, and while it's regularly impressive on a visual and aesthetic level, the storytelling lets the Gothic horror down in the end.

Uncharted aims for old school adventure with a modern sheen, but the end result is the latest in a long line of immediately forgettable video game adaptations.

Paranormal Activity: Next of Kin doesn't reinvent the wheel, and it won't win over many new converts, but it's the best entry in the franchise for a long time.

Shazam! Fury of the Gods is a substantial step down from its predecessor, hardly ideal when the future of the entire franchise likely depends on it.

Hitman's Wife's Bodyguard is a perfectly acceptable buddy sequel, but it's all very uninspired and unoriginal.

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.

Red Notice is vastly less than the sum of its parts, with the central trio saving it from mediocrity. It's a perfectly acceptable and decently entertaining $200 million action epic, but nothing more.

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.

Bird Box Barcelona expands the mythology in several new and fascinating directions, but it also makes the mistake of posing several bigger questions that it doesn't seem to want to answer.

Jurassic World Dominion has its moments, but the latest installment in the franchise squanders what should have been a slam dunk.

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.