Witney Seibold

In terms of cheap, late-night, exploitation flick fun, it satisfies.

Jared Leto also proves to be a less-than-stellar leading man.

It's not that big, it's hardly bold, and it's only beautiful on its surface. It could have been a journey.

At a bloated 156 minutes, audiences will have too ample time to ponder the film's many weaknesses. The racing will be exciting — very exciting, in fact — and Pitt is certainly a movie star, but quite frankly, I can have my own midlife crisis, thank you. I don't need to watch Pitt's.

The film lacks the wonderment and excitement of Indiana Jones, but it's not quite as dumb as "The Da Vinci Code," and certainly less obnoxious than, say, "Red Notice."

The Electric State is one of the most expensive films ever made, and one can see every dollar on the screen. The robots feel real, and their design, taken from Stålenhag's book, is fitfully unique. But one wonders why so much effort went into a movie that has almost nothing on its mind.

Love Hurts marks the first leading role for Ke Huy Quan, and he avails himself well enough. He doesn't ever shimmer off the screen, and he doesn't handle the romance elements perfectly, but he possesses an appealing hangdog quality that feels human and relatable. However mediocre the movie around him, one always has the instinct to cheer him on.

In execution, it feels like a neophyte director's confident first turn. Perhaps shabby, but well-meaning, and only occasionally straining against its obviously limited means. 

Mufasa will satisfy, but it also feels ultimately useless. Like Disney is once again spinning its wheels, trying to wring billions of dollars out of old ideas while they brainstorm new ones. Fans of "The Lion King" may be slightly moved. At the very least, you'll finally know how Rafiki got his stick.

Sony, still possessing the film rights to Spider-Man, decided to make an interconnected Spider-Man Villain universe, of which "Kraven the Hunter" is the final chapter. Watching Chandor's film, though, one can see that neither the studio nor the filmmakers are interested in starting anything anymore. There is no presumption that fans will be interested in long-form mythmaking, and sequel teases remain light. This allows "Kraven" to be stupid on its own. And, in a weird way, that's a relief. We're free.

Worst of all, the film is loooong. It's not just low-energy. It drags. One could listen to Pink Floyd's "Dark Side of the Moon" three and a half times in the same 161 minutes. And perhaps one should. It would be a more edifying musical experience.

It is superior in acting, lighting, pacing, and clarity. It's also raw and confrontational in a satisfying way. But it's also a glorified remake more than it is a sequel. "Platform 2" is not an expansion, but a retread, nihilistically sifting through violence and cannibalism to get to a point it repeated over and over. Second verse, same as the first. 

Hidden somewhere in Immaculate is a stirring and topical drama about the way male-driven religious institutions claim ownership over women's bodies.

Madame Web does not provide a crowd-pleasing bombast. This is a pity, as this odd duck makes for a fascinating watch. This may be one of the final films of the superhero renaissance. Enjoy it before it topples over entirely. 

"Believer" is not the worst "Exorcist" film by any stretch, but it's certainly the least intriguing. It's a rote, choppy thriller that forgets to scare us.

Overall, the details of Blue Beetle are fun, and the characters may inspire a few warm familial smiles, but the whole is frustratingly shabby and rushed.

There is a great deal missing from Ritchie's film. "The Covenant" is almost aggressive in its complete lack of wartime litigation. While the harrowing nature of a soldier's experience is laid bare, the meaning of the actual, prolonged quagmire of the Afghanistan occupation will be lingering in the back of most audience's minds.

Despite the film's clear edict to include as many tasteless jokes as possible . . . Quasi possesses a strangely disarming, hangout quality, leaving it feeling ultimately harmless and even a little bit friendly.

Rambo: Last Blood captures everything that's gone wrong with this action franchise over the years.

Once Upon a Deadpool is a cute idea that doesn't live up to its potential, leaving audiences with little more than a less interesting version of a better movie they might have loved.

The Halloween monster mash iconography is incredibly strong and the cast is excellent, but Goosebumps 2 is in far too much of a hurry – and perhaps too eager to be widely accessible – to be actually scary or wholly effective.

The Darkest Minds is a wholly rote YA sci-fi adventure that continues a genre that is pretty much dying out. Despite this, the film is capable and enjoyable and features a great lead actress in Amandla Stenberg.

Action Point contains some crazy stunts and some funny-ish gross-out humor, but is ultimately a pale echo of the dark destruction Johnny Knoxville became famous for.

Although featuring some good acting, and certainly ambitious in its critique of the characters, American Animals is too sleepy to strike a chord.

Mary Shelley's fascinating life story is told to contain a few brief glimpses of modern insight, but ultimately weakens under its over-use of conventional, romantic storytelling tropes.

Not as annoying as it looks, but hardly a stirring or imaginative entertainment, Sherlock Gnomes has a comfortable home right in the middle of the road.