Unfortunately, Lee Cronin's The Mummy is so focused on replicating other horror movies and relying on familiar tropes that it honestly has very little in common with the bandaged monster it's supposed to be about.

Outcome is clearly coming from a personal place for Hill. It doesn't come across as too bitter or full of self-pity, but the point of the movie is never made fully clear. It moves at too quick a pace to leave much of an impact, and it's a bit of a tonal nightmare.

For all its visual polish and strong performances, Faces of Death remains caught between commentary and replication. It wants to critique our obsession with violence, but it can’t quite resist indulging in it, too. The result is a film that feels acutely aware of the cultural moment it inhabits, yet strangely hesitant to push beyond it.

Drag makes the most of its fairly simple conceit.

They Will Kill You is an undeniably fun and berserk action film that relies on the style to make up for the lack of discernible substance. For the most part, They Will Kill You pulls this off, and it’s easy to get caught up in just how much this cranks itself to 11.

Sender wants to put us in the perspective of an addict, but instead, it always leaves the audience feeling like it’s missing something, not quite in step with what the film is trying to express. Goldman has a lot on his mind, but Sender sometimes feels like when you have too many ideas, and you try to say them all at once, but it comes out garbled and confusing.

Tow isn't a movie that anyone will outright hate, but it squanders so much of its potential that it fails to deliver the important message that it wants to share.

What starts as a more violent Mr. and Mrs. Smith takes an unexpectedly brutal turn, becoming borderline unamusing. Taccone pushes himself to try and break from his usual comic mold, but with Over You Dead Body, he ends up pushing too far.

Pretty Lethal is at its best when it’s a straightforward film about bloody fights and survival. This isn’t the most complex concept, and when the movie tries to include unnecessary details, it stops the narrative dead in its tracks.

Wardriver feels familiar. It's Dane DeHaan that makes it worth investing in. If only they had gone deeper, Wardriver could have lifted itself past expectations into something more compelling.

Einbinder, Reynolds, Gluck, and Theroux are appealing as a team, but Strouse doesn’t give them any weight on their own, which leaves this story feeling fairly one-dimensional. Seekers of Infinite Love will, unfortunately, leave you searching for more.

In spite of its faults, Vanessa Caswill's latest directorial effort offers a pair worth rooting for and winning romantic leads, proving that Monroe and Withers have what it takes to captivate audiences in a genre that they haven't previously been linked to.

The Pout-Pout Fish is not bad by any means, but don't go in expecting a new animated classic. Little kids will probably enjoy it for the innocent, lesson-filled, mild fun it is, especially if they've been introduced to what inspired it first. There's nothing wrong with that. It's what The Pout-Pout Fish aims for, and it achieves the goal.

War Machine does indeed struggle to stand out in a crowded subgenre of alien invasion movies, but it also does enough to likely satisfy action and sci-fi fans. There are glimmers of brilliance with Ritchson's surprisingly nuanced performance in the lead role and at least one truly great action sequence, but just about every other aspect falls into "just fine" territory.

What keeps the movie going when the script starts to run out of ink are the brilliant performances all around.

The Napa Boys, written by Corirossi and Armen Weitzman, is a ludicrous concept that quickly throws you into its style of comedy and doesn’t hold your hand.

Scream used to poke fun at the silliness of horror movies and laugh at the genre's clichés, but now, it’s indistinguishable from the films it once gleefully lampooned, in what is easily the worst installment so far.

Ultimately, Kermani's film is not strong enough to be called a complete success. Its lackluster ending and uneven characters weigh it down from potentially becoming a cult hit.

There are fractured elements that, with a little polish, could’ve been something much more, but this is just a generic, unremarkable horror film.

This Is Not a Test won't give you shivers, but its zombie invasion will leave you hopeful.

How to Make a Killing is a fun, albeit flawed thriller drama with a mildly dark sense of humor.

Even if The Musical isn’t always a hit, it’s worth it when the film does find its high notes.

Stanton has done truly incredible, groundbreaking things in animation, and he’s almost certainly got a great live-action film in him, but In the Blink of an Eye makes one wonder if Stanton should go a bit smaller and work his way up to such grandiose concepts like this.

There are no easy answers, and Nuisance Bear presents none of them.

Granted, the footage itself and the intense quest to save these eight still make Hanging by a Wire a documentary worth seeking out. It’s just one that doesn’t have as much depth as one would hope.

Even though zi isn’t quite the powerhouse of independent cinema that films like Columbus and After Yang were, it does feel like the work that Kogonada needed to do in order to right his sails and figure out where to go next.

Poulter's acting keeps it afloat ultimately, but there are moments when the desire to focus on the recovery journey overshadows the actual story at the heart of the film. Ultimately, Union County is a respectable debut for Meeks, but in trying to do too much, it fails to land on solid ground by the time the film is over.

Luc Besson's Dracula is weird. Really weird, borderline nonsensical at certain points. That being said, its great take on its title character is enough to call this one of the Leon: The Professional and The Fifth Element filmmaker's strongest in recent years. It takes a lot of swings, and while not all of them hit, it nails the stake in the heart of what makes this story so timeless and special.

The best thing Whistle has going for it is that the "monster" is actually pretty creepy, and the rules created behind what it does are intriguing enough. The gore and death scenes are effective, pulling in the viewer, as the character building pushes them away.

The Gallerist is a disappointment, especially considering that Yan’s last movie as director was the vastly underrated DC film, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) from 2020, a hyper-stylized, playful, and unconventional take on the superhero genre. It would’ve been wonderful to see that version of Yan here, creating an unhinged look at the art world that was experimental, spirited, and daring in the way that film was.

With heartfelt and emotional performances by the cast, See You When I See You is a stirring tale about survivor's guilt, grief, and reconnecting in the wake of tragedy. Though the film hits on all emotional notes, there's one crucial setback that holds back an otherwise moving story.

The actors do well working in Manuel’s specific directing style — one that’s characterized by unhurried dialogue — it’s just that the style doesn’t always resonate, tamping some of its power instead of enhancing it. Filipiñana is a feast for the eyes, but you’ll likely still leave hungry due to the punishingly slow pacing.

Iron Lung is far from a perfect movie, and the pacing ultimately makes the conclusion feel exhausting rather than exhilarating or shocking. You'll be ready to leave once the credits roll. Yet, the craftsmanship is there; with his directorial debut, Fischbach shows that he's more than just a YouTuber, and he can conjure up the same kinds of scares that make him scream as he's playing games.

It ends up in an odd space between psychological thriller and straight-up jump-scare horror that unfortunately drags down an otherwise compelling film.

It may not be the terrifying marvel some Raimi fans are hoping for, but it's still an entertaining enough watch that makes an SOS unnecessary.

There are successful elements in the script, certainly, but there are also several frustrating moments that simply needed another draft to work the knots out. All that said, it's a successful foray into sci-fi territory thanks to a willingness to stretch the subgenre's established rules, making for a fun murder mystery that keeps audiences guessing.

A Private Life is worth exploring simply for the performance by Foster, which keeps this story moving the best she can, despite the screenplay’s constant starts and stops. If anything, the real mystery of A Private Life is why we don’t get to see Foster on our screens more these days.

This movie wants to get in, get the job done without complication, and get out before it overstays its welcome. On that front, The Rip is solid enough to earn a mild recommendation.

For all of its dourness, there is still a bit of entertainment to be found. It's just too bad the film is taking itself far too seriously.

Anaconda had the premise and bones to be something really special when it comes to meta remakes. It had a great cast and a surprising amount of heart, but that's simply not enough to save the movie's rough pacing and pointless subplots from the jaws of a giant snake who barely appears on the call sheet.

When it's sexy, violent, or bonkers, it's a wildly enjoyable romp, and lead Sydney Sweeney kills it any time she's allowed to dial emotions up to 10 (as fans of Euphoria or Immaculate can attest to). Was it great? For the majority of its runtime, no. Would I watch the sequel it teases? Yes. Inside you are two wolves, and if they're watching The Housemaid in different parts, the one watching the ending is the happier wolf by far.

You know every single beat of how their relationship is going to turn out, but because of how cute the dog is and how cute Deschanel and Cox are together, you can't help but buy into it. They're great together, and their charm elevates a script that could have easily been translated into yet another streaming Christmas romantic comedy.

It's well-acted and not schlocky, but it's one of those presents you open on Christmas, excited to receive it, only to forget about it the next day.

Ultimately, My Secret Santa feels like one of the more forgettable Christmas movies of the year. It is not funny or wacky enough to appeal to kids the way Doubtfire does, and it isn't charming or thoughtful enough to appeal to adults.

Fackham Hall holds its own as the first of its kind — and carves out a brand-new niche in the satire landscape.

Where the first movie left fans satisfied with the bare minimum, and non-fans bewildered with boredom, the second installment will likely leave fans even happier and non-fans satisfied with a solidly entertaining robot slasher.

Michelle Pfeiffer is reason alone to watch 'Oh. What. Fun.' even if the film never fully reaches its potential.

The thoroughly entertaining villains should have played more of a role, as should the store, and the material should have been more comedy-focused and delivered by actors with more of a knack for it. Once this heist was over, they could have spun it out into sequels, where each year a new operation got underway. It's a shame that this one falls so flat.

There's nothing about The Family Plan 2 that particularly stands out aside from the European Christmas setting. Despite having a slightly different premise from the original, much of the film plays out like a sitcom. Yes, it's an improvement over the first movie, that's not saying much when your predecessor was already lackluster.

Maslany can effectively react to shadows and reflections, and Perkins can navigate this cabin to maximize its horror potential, but without the screenplay to back them up, this just becomes a curious experiment without much focus.

You won't forget Alan Ritchson. If he can make crap entertaining, imagine him in a comedic role with a much better script

Trap House is a fun enough time worth watching, but it traps its star and doesn't let him out.

The direction that The Carpenter's Son is charting is the right one, as there are some moments of genuine intrigue, and it's not always clear if the titular character is going to fall into the path of the dark side or take on a more noble path. However, Cage's supporting role and the rest of the movie's more meandering moments and subplots, including a rushed ending, prevent it from being heralded as the enduring cult classic that a lot of Cage's other recent hits have become.

Altogether, a lot works about Now You See Me: Now You Don't. It's a lot of fun, with a dangerous new foe and big, great-looking tricks. The new cast members are all stellar, have an engaging dynamic with the original team, and everyone gets a stand-out hero moment (a must for an ensemble this size). On the other hand, the script feels perpetually rushed.

Measures for a Funeral is brimming with style and painstakingly researched, but the fact Bohdanowicz seems to insist on showcasing every tiny detail she discovered at the sacrifice of making a leaner, more focused, and riveting story causes a dissonance that makes it feel dead on arrival.

As those familiar with Chomet's work would expect, A Magnificent Life is an exquisitely animated film to watch, even if the narrative is a bit rote. But it also makes one think that maybe the original concept for this as a documentary of Pagnol’s life could’ve been more effective and illuminating of what made him such a great artist.

Stitch Head has the vibe of a teenager trying to reach the minimum word count on an essay: as long as it gets done on time, then that's the main thing.

As Ibsen’s play has shown, even a century after its writing, this is still a story with life in it, and DaCosta’s take modernizes it in deft ways. However, the questionable way DaCosta's film goes about it doesn’t do the story justice, making this a party that fizzles out long before the last guest has left.

Despite Lane and Chandler elevating Anniversary with their respective performances, the film doesn't reward its stacked cast with the memorable onscreen moments they each deserve.

Although the cast does what they can with a script that never cuts deeper than the surface, their performances aren't enough to give Regretting You the emotional resonance expected from a story like this.

Springsteen: Deliver Me From Nowhere can’t shake what we know about the biopic, but it does at least create some moments and provide some decent performances that make the audience forget about those clichés, at least temporarily.

Like the title character himself, Jay Kelly is a film that has good intentions, but doesn’t have the follow-through to make good on those promises.

There is fun to be had here, but it's spread too thin in a movie where even 90 minutes is too long.

In an environment where meta horror is all the rage, Big Baby doesn't reinvent the wheel, but it does check all the basic requirements. It's got a strong hook and premise, a character and a villain who are easy to connect with, and some pretty gnarly kills and effects to boot.

If you're looking for a narrative and humor that matches the heights of the first movie, you'll likely walk away disappointed in how it takes such a hard pivot towards mean-spirited and juvenile attempts at shock value, leaving the heart and relatable stakes of the original completely in the dust.

Father Mother Sister Brother does have little pockets of Jarmusch's genius scattered throughout, but not enough to make up for how unfulfilling the entire experience is.

There are more misses than connections in the third act, and for its title, it's never really vicious enough despite the blood and gore to come. Still, it'll keep you on your toes as it's cutting off someone else's.

It features terrific performances from Roberts and Garfield, but even they are not enough to save the film from being too muddled and morally ambiguous for its own good.

A House of Dynamite begins explosively, but unfortunately, it ends up fizzling out.

While it’s certainly great that Daniel Day-Lewis is back in his element, and Ronan Day-Lewis can craft impressive, imposing imagery, Anemone is just too much empty space, waiting to be filled with something.

V/H/S/Halloween is dark and demented, and is the funniest movie of this franchise. But if the V/H/S series just turned it down a notch and tried some different storytelling formats, the next one could be even better.

Killer coyotes aren't all that scary, and the comedy of the supporting characters feels forced and overly written. Kudos to the crew for coming up with a premise and refusing to send it off the rails into fantastical absurdism. Still, just because you keep the plot grounded doesn't mean that there is enough to keep up the tension.

It's content with being simply silly when it could have been so much more. Still, Doin' It will make you laugh out loud throughout its runtime, and Lilly Singh shows that she has what it takes to succeed on the big screen.

The vibe of Him is trying to make the audience unnerved, but the story and imagery being presented are too goofy to take this attempt seriously.

Drifting between heartfelt dramedy and broad comedy, Driver’s Ed doesn’t always blend the two with enough finesse.

If a movie is going to give us a man reuniting with his dad and them coming to love each other, then it needs to give them the freedom to really hash it out and explore the consequences of their estrangement. Looking Through Water only skims the surface.

Varley's talents as a director are evident for the first half at least, but after that, The Astronaut becomes a head-scratcher.

Fuze has the bones of a great idea, and one that does seem like a great fit for Mackenzie, given his past work. But Hopkins’ script is too generic an action exercise, from its bland plot to its nothing characters, that it’s hard to find anything to truly care about.

Steve is an adequate film about teachers, students, and the struggles that they both go through, but it’s also hard not to think that a bit more insight into the lives of the students earlier on — particularly from the perspective of Shy — could’ve made this into something even more special.

A Big Bold Beautiful Journey tries to be too big and too bold, when it’s the smaller moments in which this film becomes a beautiful journey.

Edward Berger's latest is all style and no substance, despite giving Colin Farrell a weird role to sink his teeth into.

An intriguing formal experiment from Steven Soderbergh, focused on two solid performances by Sir Ian McKellen and Michaela Coel.

Quite frankly, it never hurts for a film to preach the dangers of Nazis and how they can be anywhere and everywhere, but it is a bit of a shame Nuremberg isn’t finding a more compelling, enticing way to tell this inherently fascinating true story.

A short runtime kills any character development and tension.

Whimsical in concept but hollow in execution, Eternal Return drifts aimlessly despite Naomi Scott's glow.

As a ridiculous tale of a celebrity trying to make himself matter, Sacrifice is quite a bit of fun, but any attempt to make a larger point falls flat, just like so many films before it.

The Choral offers a unique look at WWI, while struggling to maintain balance between its compelling lead and somewhat lackluster storytelling with its other subplots.

Hulu's Whitney Wolfe biopic never tries to break free from the predictable confines of the genre.

For a story that should be brimming with intrigue, danger, and the horrors of inventing your own reality, The Wizard of the Kremlin is instead a bloated, tiring recitation of facts that doesn't know how to elevate its dark subject matter.

As a platform for Sweeney to show her broad talents as an actress, Christy is undoubtedly successful, as she finds the heart and sadness within Christy Martin. But Michôd's film doesn't make that life story quite as riveting as it should be, which is what Martin deserves.

As it stands, The Roses has its charms, but it could’ve used a few more thorns.

Trust does a great job of showing what Turner is capable of. The problem is everything around her. Pardon the pun, but it takes an interesting premise and doesn't trust itself to craft a compelling story with interesting characters around it.

Madelyn Cline and KJ Apa engage in a summer romance that neither makes your swoon nor sob.

The fifth installment of a beloved modern horror franchise proves that it's losing steam.

If you're a moviegoer who desires smart, original horror, skip Witchboard. You're better off just watching Sinners or Weapons again.

Fixed has the stylish hand-drawn animation that Genndy Tartakovsky is so well-known for, but the juvenile humor feels beneath a filmmaker of his stature.

Berg’s documentary is at its strongest when it focuses on the musical legacy that Buckley was so concerned about that he would leave behind, and less so when it tries to delve deeper into who Buckley was as a person.

Instead of burrowing into their differing ideas about life, liberty, and the pursuit of happiness and how they differ based on class and background, Anna and Jamie’s romance is based entirely on them exchanging progressively earnest platitudes, quotes taken from centuries-old poetry that the script dumbs down and shoehorns into every moment between the couple.