Scott Campbell

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.

Dwayne Johnson and Emily Blunt elevate Jungle Cruise, but you've seen this movie before, and you've seen it done a lot better.

The Gray Man delivers on its promise of spectacular globetrotting action escapism, but there's a noticeable spark missing that could have elevated it above formula and into greatness.

When Bullet Train sings it’s often a blackly hilarious and knowingly absurd slice of demented action goodness. When it doesn’t work, self-indulgence begins to creep in, almost as if the creative team deliberately set out to make something that would be fondly remembered as a cult favorite in the years to come, but that’s a sentiment that can only be earned, not cultivated.

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.

Army of Thieves isn't the most original or inventive heist movie you'll ever see; but it's a massively entertaining expansion of Zack Snyder's undead cinematic universe.

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.

Fantastic Beasts: The Secrets of Dumbledore gently levitates rather than soars, hums quietly under its breath when it should sing, and mildly entertains and amuses when it should have fans gripping the edge of their seats as thing hurtle to a breakneck climax.

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.

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.

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.

Medieval works best when it throws dirt, mud, blood, and body parts at the screen, with the crunching battle scenes just about overcoming the narrative shortcomings.

Samaritan had the potential to stand out among a crowded pack with Sylvester Stallone as a veteran superhero drawn out of retirement, but it doesn't bring anything new or noteworthy to the table.

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

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.

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.

Add on another star, or perhaps even two, if you're a fan of the games, but Resident Evil: Welcome to Raccoon City will struggle to win over those who aren't familiar with the franchise.

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 Princess fully embraces its outlandishness to deliver a cheesy, violent, R-rated fantasy actioner that's destined to ensure as a camp cult favorite.

Blood Red Sky both is and isn't the movie you think it'll be, but it's perfectly suited for Friday night entertainment.

Mother/Android isn't the sci-fi movie you think it's going to be, or even the movie it probably wants to be, but it's nonetheless a solid first-time feature from from writer/director Mattson Tomlin.

Night Teeth is a disappointing vampire thriller that's all style and no substance, leaving plenty of interesting world-building and unique mythology behind in favor of a formulaic story audiences will see coming from a mile away.

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.

Black Adam is nowhere near the game-changing revolution for the DCEU that was promised, but it's a solid introduction for Dwayne Johnson's antihero nonetheless.

Moonfall is every bit as big, loud and stupid as you'd expect, but Roland Emmerich's latest disaster epic is also an unforgivably dull slog.

The end product is a hugely satisfying and wholly original Christmas pic that will no doubt become required viewing on an annual basis for those who prefer their holiday favorites to be a little less traditional.

Ben Wheatley's blockbuster debut reduces him to an anonymous bystander in a sequel that's inexplicably weaker than its predecessor. If we get 'Meg 3,' then somebody needs to remember these things are supposed to be fun.

You might think you've seen it all before, but 'The Twin' thrives in upending expectations to deliver an atmospheric folk horror that's as emotional as it is terrifying.