It’s a gory, bonkers action-comedy premise anchored by a set of strong performances and a surprisingly poignant meet-cute, making for a wildly memorable action outing.

It is a thriller that frequently flirts with becoming an out-and-out horror film only to never quite arrive there. The result is a middling work that is occasionally interesting, as we see how it attempts to strike a balance between these two distinct ideas. Regrettably, it ultimately can’t hold itself together when it counts.

On paper, Late Bloomers may not be a revolutionary tale, but its execution makes it a clear standout within this specific sub-genre of nihilistic millennial dread.

While the Hollywood legends don’t disappoint, it’s their children who steal the spotlight. Being able to hold your own in—let alone carry—a movie alongside those heavyweights is no easy feat, but it’s especially impressive considering Schuyler and Jake are not household names.

There is never a moment when you're swept away by the romance of Walt and Sophie and that should be the point of all of this.

After proving herself as a director on TV shows like Stranger Things and Severance, Briesewitz has delivered a promising directorial debut, with fascinating characters and takes us on a journey to a world that we don't often see in American films.

Get Away is a deceptive blast that properly exploits vacationer stereotypes to conceal vastly more wicked intentions.

The performances are all giving the necessary punch even when the writing is not. It may frequently get lost in its own narrative woods, but Bana manages once again to bring it all back to humanity.

The strange thing about The Accountant 2 is it's not the same gritty action movie that the original was. O'Connor still delivers some top-notch fight scenes, but this sequel, at its very core, is a hang-out movie, complete with a scene of Affleck awkwardly line-dancing at a bar. Yes, you read that right, and yes, it's as great as it sounds.

While the free-flowing structure of Spin Me Round works in bits and pieces, there’s very little overall purpose to the narrative Baena and Brie have crafted here.

Even without the questions about the veracity of the story, its rah-rah style makes it feel superficial rather than sweeping. In the end, Flamin’ Hot comes across as a selling of a story and a brand rather than a genuine retelling of one.

The film is lovingly put together and expertly crafted, making for a gorgeous tribute to Lee.

It’s clear that Boston Strangler so desperately wanted to copy the recipe for Zodiac and bought all the same ingredients.

Ultimately, Freaky Tales works if you don't look too hard at it. It's a fun time and some of the most extreme scenes will make you forget any plot holes or inconsistencies.

Though Apex's story largely just updates survivor-thriller tropes we've seen many times before, it's effective enough in its repackaging that it's certainly worth firing up on Netflix during a lazy night in. The physicality of Theron's performance, along with the film's vertigo-inducing cinematography, ultimately make Apex an adventure vacation from hell worth taking.

Eternity is a cute rom-com with a great cast, but it could've used more exploration of its afterlife.

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.

River is a poetic argument made potent.

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.

My Best Friend’s Exorcism has something for everyone: strong female characters, spooky atmosphere, humor, heart, a bitchin’ 1980s setting. There is a lot to like here, and plenty to enjoy all year round.

Ultimately, Wicked Little Letters is a delightful comedy worth writing home about (just be sure to watch your language when you do).

For a director like Howard, whose work can sometimes be a bit too sterile, Eden is a curious experiment in search of a purpose.

Moana 2 explores the possibilities of this universe, and builds on the bond between Moana and Maui, but stays a bit too close to the original's formula.

The fate of fetch may be up in the air, but Mean Girls as a musical movie? That's clearly not going to happen.

Thurman’s scenes only get better when she’s paired with Jackson. The duo handles their dialogue like a walk in the park, and you can tell that The Kill Room tries to make the most of it.

The pacing is brisk without once overstaying its welcome, it has an ultra-charismatic lead, plus boasts all the violence, chaos, and melodrama one could want out of this particular movie.

While the title promises fire, the only riddle remaining is where the adventure it was searching for ended up disappearing to.

Borderline is a prime example of how a really great cast can elevate rather frail material.

There’s no way to hide the lack of substance in We Bought a Zoo, making it hard to justify returning to this decade-old film.

Young Werther isn't a terrible movie by any stretch, but it also feels like it relies far too heavily on your typical romantic-comedy clichés for it to stick out. It's a shame, as Booth and Pill are insanely sweet together, but the execution ultimately feels too unremarkable to be memorable.

It is a fun romp, one that is sure to entertain audiences.

Wicked: For Good is not only a loyal adaptation, but it builds on what works from the first film while leaning into its lead performances. The characters are more mature and nuanced, making it a worthy successor to the first film. It doesn't surpass Wicked, but as a double feature, these two movies do justice to one of the best musicals ever, and that's not an easy feat to accomplish.

Narratives about identity are important, but Elemental lacks the delicate nuance needed to tell these stories.

If you need a big, dumb action movie with two buff guys to kick back and down some beers while watching, you are in luck.

Jeymes Samuel is a master of all trades who can craft character-driven arcs with fun action-packed sequences all against a beautiful score. No actor misses a beat and it confirms LaKeith Stanfield remains not just a brilliant actor but a true movie star.

What saves this movie is Taylor-Joy and Teller. Though their in-person scenes aren't nearly as endearing as their scenes with each other across the gorge, the two do have great chemistry. They're interesting to watch together, especially during their action scenes.

It is an ambitious flurry of ideas, and while it doesn’t entirely work, there’s an extremely promising filmmaker within Chainey.

Unafraid to lean into Isla's naivete, Rankin's performance playing off both O'Rourke and Gleeson is what places her at the center of this tale and makes it worth watching.

There are layers of complexity in both Wright’s performance and that of the late Williams which elevate the experience, making for a sturdy enough riff on the Western that still could have been so much more.

From a talented cast in Léa Seydoux, Louis Garrel, Vincent Lindon, and Raphaël Quenard to an initial willingness to be ruthless in tearing apart the messy art of moviemaking, it could have been something truly great. nstead, just when you think this movie about making movies is starting to get somewhere interesting, it reveals itself to be only a sporadically funny satire with a surprising lack of teeth.

Ezra is irresistibly charming, full of so much passion and care, and finds strength where similar films fall flat.

That being said, if you are part of that target demographic, Spinal Tap II: The End Continues has a lot to enjoy. That's especially true when the film shows off a few surprisingly heartwarming moments, which were definitely not as prevalent in the original story.

Dicks: The Musical is a decidedly big swing and a genuinely weird take on the musical that has its moments, but also feels a bit stretched too thin given its concept.

A Road House movie shouldn’t be boring, especially this boring. A Road House movie shouldn’t have to enhance its fight choreography in post-production, nor should it be such a tonal mishmash. I guess Liman didn’t get the memo? His Road House remake is an uninspired chore that never properly unleashes Gyllenhaal or nails even the most basic functions of bar fight nostalgia porn.

For a horror-comedy, it's not funny, and it's not scary. It's a very strange amalgamation of little drops of each of these things, heavily diluted within what is largely a romantic drama, and as such, every time it tries to be funny or scary, it feels out of place and uncomfortable.

Pedro Páramo uses its supernatural language to inform the audience of the consequences of a collective wrongdoing. It is also remarkably efficient at communicating different storylines to the audience without making viewers get lost in the process.

Not only is director Benjamin Brewer’s Arcadian a good Nicolas Cage movie, but it’s one of the most fun cinematic experiences that he has been a part of in recent memory. It's a work of horror worth taking seriously even as things go gloriously off the rails.

It’s funny, bizarre, uncomfortable, and an absolute cringe-fest for all the best reasons.

Extraction 2 feels like a glossier and more by-the-numbers extension of the first movie. By giving Rake, their Sad Action Hero, something more to fight for, the filmmakers accidentally stripped the character of what made him so compelling in the first place.

Shirley is a relatively straightforward biopic, but it’s worth the watch to see Regina King’s beautiful performance that feels like an ode to the trailblazing woman.

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.

I never once rolled my eyes at a joke that was clearly dropped in, so it could be a zinger and make it to the trailer. It successfully silenced a rather jaded MCU fan by offering a story that had it all without having to sacrifice its soul to the MCU machine that is eager to churn out stories for future phases.

Blackout is a werewolf movie with plenty of passion behind it that still doesn't pack the punch it needs to.

There’s a fascinating and beautiful true story at the core of Ordinary Angels, but the bland way it’s told does it a massive disservice.

Somebody I Used To Know—like life—can’t be clearly defined. Instead, it embraces its messiness and unpredictability, and the very harsh reality that “life happens.”

Ultimately, The Munsters is not a good movie. But it is great fodder to put on in the background of a Halloween party. It is best when used as a visual asset; something you may only want to catch a couple of minutes of dialogue from, but otherwise, it’s best left as background imagery.

Hell of A Summer might not have the most original premise, but Bryk and Wolfhard are fully aware of that, creating one of the most entertaining and crowd-pleasing slasher films of the 2020s.

It's a frustratingly one-note experience that boasts technique and potential, ultimately undone by a narrative blandness painted by numbers. Separately, everything works — the plan just never comes together.

When it embraces an eerie and enigmatic tone that subsequently gets turned on its head, Significant Other still boldly proves to be a film worth getting lost in.

Sting is a horror movie about a killer spider from outer space that somehow falls short of the fun potential of such a premise.

Despite a top-tier cast and bone-rattling action to keep you engaged, the Netflix flick buckles under a cluttered story with chaotic execution. It’s watchable, even entertaining in bursts — but beneath all the bruises and broken bones, there’s not much else to hold onto.

Sweeney takes plenty of risks in a lead role that’s rigorous and emotionally demanding, but the film ultimately feels a bit surface level considering how it approaches horror.

Despite some issues with pacing and its exploration of the two main storylines, this buddy comedy is entertaining and powered by a delightful trio.

While better than its prior installment, Mufasa: The Lion King still feels like an unnecessary prequel to an unnecessary remake.

The fast-paced, vaudevillian-style humor keeps us laughing despite the fact that we never really have any clue what any of the Minions themselves are saying. This movie affords itself more surface-level moments with lesser-developed villains because of the relationships we're immediately invested in between Gru and his Minions.

This review isn’t to say Winner is a “good or bad” person or that her actions were “good or bad.” This review is to say that the movie about Winner and her case is bad.c

It doesn’t deliver a knockout like some of Miike’s other films, but it still manages to beat all it has working against it into submission. One can only hope it manages to beat the odds again and find the audience it deserves.

The attempt at something different is admirable, even if the execution leaves something to be desired, making this a worthwhile curiosity for fans of old-school science-fiction, even though it's not particularly amazing or anything.

This supposed breakout strains to be edgy while remaining painfully inert. It initially makes for a sporadically fun game to play before revealing how little it has on its mind.

Ducournau's story is brilliant, but without the leading actors of the film, the movie wouldn't have been nearly as impressive.

Despite the movie's obvious excesses, it is easy to find credible hyperbole for Janiyah's perpetually drawing-the-short-straw lifestyle, where Henson's performance and chemistry with the cast drive forward the socially relevant heart of the film.

Migration embraces a rather touching and family-oriented narrative to weave an energetic tale of humor and sincerity.

Its talented cast and tender heart do a lot of the heavy lifting, but it's the kind of movie the mothers in your family will absolutely love.

Jim Carrey is the real star of this trilogy. Carrey's signature brand of improvisational comedy serves him well once again here, as his gleefully cartoonish villain continues to be a highlight of his recent acting works.

Winner is a bold idea that almost immediately proves itself to be a misconceived mess.

The movie undermines its own message by silencing one of its most important characters and choosing instead to give the spotlight to the ones that bring nothing new to the table.

Englert has talent, and there's ambition and chunks here that work in bits and pieces, but unfortunately, Bad Behaviour is too scattered and too unfocused to add up to much at all.

Adams and McNairy give two fantastic performances that showcase the confused, overwhelming situation that first-time parents find themselves in, and Heller juggles this fantastical high-concept idea with very real emotions and powerful statements.

Deadpool & Wolverine is a shot in the arm that the MCU needed, and finally shows the full potential of Ryan Reynolds' Deadpool.

It summons the magic of nostalgia with laughs, heart, and music, and perfectly satisfies the heart of audiences trying to rekindle the past.

While The Last Front struggles with its stylistic choices and lack of substance, it is still an entirely watchable and almost enjoyable war drama.

With a great voice cast, curious characters, and glimpses of an engaging art style, all the movie had to do to be great was rely more on the original things it brings to the DC universe. Instead, DC League of Super-Pets is satisfied being just another commonplace superhero tale.

Drive-Away Dolls, the solo directorial debut of Ethan Coen, is an occasionally charming road trip comedy that never quite reaches the wit and brilliance of other Coen projects.

Beyond some decent performances that aren’t done justice by this script, and some fairly wild leaps into horror, Forbidden Fruits isn’t ripe, it’s just rotten.

But even though Fast X is spread too thin, and we’re starting to see the consequences of this ever-expanding family, it’s still a blast to watch.

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 may be Cooper’s best historical film, and perhaps that’s because there’s a distinct melancholy to it that is etched into the bones of Virginia’s finest—just like Poe.

All of Wright's movies only get better and better on every rewatch, given the immense attention to detail, and revisits of The Running Man will undoubtedly garner more appreciation for a movie that's already one of the most crowd-pleasing pictures of the year.

The end result is a film that truly feels like it has something to say and goes about saying it in the strangest way possible.

Swapped takes the tropes of body-swap comedies of the past and filters them through a decidedly contemporary lens.

Jamojaya is at its weakest when it pushes its music industry storyline to the forefront and the family drama into the background. But Imanuel and Unru's performances are enough to give this film praise, and it will be exciting to see where Imanuel goes next in his burgeoning acting career.

At least its status as something of an outlier within Alfred Hitchcock’s filmography makes it a little interesting, but actually sitting through it proves to be an inconsistent sort of affair at best.

It's a suspenseful family drama that drowns in the location's surroundings, unable to capitalize on its Shyamalanian influences.

Spaceman is a rocky journey, but in times like these and thanks to Sandler’s performance, it’s often worth the trip.

Ashley carries the movie, and her talent should be utilized in more romantic comedies. Don't take it too seriously, and you'll have a good time.

It takes a tale as old as time, adorns it with the accoutrements of soft body horror, and ultimately tells the audience members to keep their chins up; that they have the power to break through these societally-inflicted ideas about self-worth.

For all its many structural flaws that could doom a lesser work, it manages to break free when it counts. Though Hunt won’t become a paragon of action cinema, the moments where it lets loose still pack plenty of potent hits.

While the unique shooting style and the talents of Dynevor and Ifans should have set the film up for success, the underdeveloped characters and underwhelming twists render Inheritance a tedious watch rather than a gripping espionage action flick.