Scott Campbell

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.

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.

Morbius is a huge step backwards for Sony's Spider-Man Universe, and the worst Marvel-branded movie to come along in a long time.

Hart is capable of better, and Harrelson deserves better, so we can only hope the duo had fun during shooting, because there isn’t a great deal else to recommend outside of the pair’s best attempts at trying to wring some modicum of entertainment value from the scraps they’ve been given to feed on.

Less is almost always more, but the creative freedom afforded by Netflix must have meant that the director, co-writer, and producer didn’t feel obligated to leave much on the cutting room floor. As a result, The Bubble throws everything and the kitchen sink into the mix, but very little of it manages to stick.

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

The Expendables is far from high art, but it’s safe to say the saga has never hit a lower point than it has here, a crushing disappointment for anyone genuinely hoping for the return to form that was promised and demanded.

Paramount+ has finally released its first major in-house exclusive movie, but it's an understatement to say that Infinite could be better.

Me Time has plenty of talent and a potentially interesting hook, but it's quickly drowned in a sea of comic mediocrity.

There isn’t a shred of originality or inventiveness to be found anywhere in the DNA of Midnight in the Switchgrass, but the performances from Fox, Hirsch and Lukas Haas as the unnervingly creepy and very murderous Peter are deserving of much better material. That being said, it’s exactly what you’d expect from a modern era Bruce Willis effort, even if he’s barely in it at all.

Slapface can often be a relentlessly bleak experience, but the thematic resonance and surprisingly effective character dynamics comfortably offset any minor flaws.

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.