William Bibbiani

Red One might not save Christmas but at least it saves face.

It would be easy to write off 'Sneaks' as a hack job, a sole-less riff on a tired premise, but there’s more afoot here.

Its baseline competence is perfectly watchable. It’s just hard to imagine anyone signing onto this project with the explicitly stated goal of only making it watchable.

If you can’t think of a better way to spend your time, 'Until Dawn' is a thing that exists.

Jungle eventually leads to an exciting survival story with an intense performance by Daniel Radcliffe and suspenseful scenes that might make you squirm. But it might not be worth the journey it takes to get there.

Arctic Dogs is a functional, distracting kids flick that’s only remarkable in how unremarkable it is.

Disney may be in the process of updating Jungle Cruise, the ride, but Jungle Cruise, the movie, isn’t trying to reinvent much of anything.

Fear Street: Prom Queen is not the best Fear Street movie. But to be fair, it’s probably the third best Prom Night.

Puss in Boots isn’t on a rousing adventure; he’s performing the fairy-tale equivalent of grasping at miracle cures while he’s dying from a terminal illness. And although the film is funny in fits and starts, and exciting in fits and starts, the ultimate takeaway is weirdly sobering.

Like many of Emmerich’s movies, even the better ones, Midway loses sight of the humanity inside its vast vistas of devastation. It’s a giant film with a very small impact.

Without a strong guiding hand we’re left with a finely acted, but only adequate biopic, which brushes against greatness and then paints over it.

Green Book lacks the depth it aspires to, and only works on a very superficial level. Viggo Mortensen and Mahershala Ali give exceptional performances but this message movie fumbles its message.

Shallow self-congratulation for American moxie at the expense of everyone and everything around us.

It’s a magic act without the storytelling, so every moment is the prestige, and none of it feels prestigious. It’s goofy and shallow and delightful and in a couple days I’ll forget I ever saw it.

Mackie does a decent job of articulating his anger, and the filmmakers clearly care about the issues, but The Banker doesn’t take the narrative risks necessary to tell its story powerfully. Competence is all we get instead, and competence isn’t quite enough.

An ordinary feature that could have been extraordinary as a series of three shorts. Instead, this is what we’ve got: a vaguely watchable animated Christmas movie that only works in fits and starts.

One emerges from the theater thinking we may have just had a good time, but the more it sits with you, the more you realize that no matter how epic the battles were — and they certainly were epic — they didn’t have anywhere near the same impact as the original.

If you can get past the many bizarre inconsistencies, The Star is a relatively decent film for young Christian audiences. The writing, voice-acting and animation are unremarkable, but they get the job done, and the film’s heart seems to be in the right place.

The word Competent! rarely makes it into a movie’s marketing materials no matter how accurate it is.

As directed by Ari Sendal (“The Duff”), the film keeps its low-key, harmless energy at a steady simmer. Every once in a while a joke is funnier than you might expect, or a monster looks surprisingly spooky, but overall this is a safe, by the numbers Halloween family film.

The fact that it's released by Paramount plays like a punchline, and it’s unclear who’s getting punched.

It’s not bad, guys. But guys, it’s not good.

Doin’ It' isn’t a great sex comedy. I don’t think I’d even call it a good one, so I won’t. But it sure as hell isn’t lazy. Noble intentions are splattered all over the walls, and the overall message isn’t in dispute.

No matter how frightening the individual moments may be, and no matter how impressive it is that we only ever see enough of the monster to excite our imagination, and no matter how exceptionally the eerie sound design turns out to be, The Boogeyman never quite gets under the skin.

The Amazing Maurice just has a frustrating way of making smart ideas seem uninspired and funny jokes not funny. It’s all in the execution, and the executioner has their hood on backwards and keeps swinging the axe anyway.

While there are some creepy ideas in this surprise Netflix-Blumhouse offering, the quality of Mercy Black is strained.

The pieces of this survival thriller don’t work together in any meaningful way, they just occupy the same space, and that makes 'Apex' less exciting than if the filmmakers had just stuck to one of their guns. Any of them.

Ali and Harris give Swan Song a powerful emotional honesty that’s consistently undermined by the film’s poorly developed intellectual conceits, but their combined talents are almost enough to justify this film’s existence alone.