The Pod Generation ends with a thud, leaving the audience to question what the purpose of this endeavor even was.

It’s more than just a failure of a remake — it’s disappointing on its own standalone merits, too.

Saturday Night is a loving celebration of SNL that captures the spirit of trying to put on a live comedy show every week.

The Becomers is a movie that’s interesting even in its misfires, as there’s always something quirky and curious happening on the screen.

Dever takes Duffield's clever, anxiety-inducing script and levels it up with her complex performance. Together the duo are a one-two punch, delivering a thought-provoking sci-fi thriller that promises to become a favorite among genre lovers.

Although it may not necessarily invent the wheel of filmmaking, it accomplishes just about everything else it sets out to do in the vein of simply being a fun popcorn flick, as well as treating all the genre spheres it falls into with an encouraging level of respect, albeit with the occasional gentle tongue-in-cheek joke.

For all the charm and innovation that That Christmas is going for, it ends up being a predictable and rather deflated movie that is playing to a much younger audience than it lets on.

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 a film that highlights Raimi’s talents as both a director of distinct superhero stories, and idiosyncratic horror tales, Doctor Strange works. Yet as a larger piece in the ever-expanding Marvel Cinematic Universe, the Multiverse of Madness starts to show the cracks in trying to continually attempt to build and one-up what came before.

Everyone you'd hoped to see is here, the chemistry between Lohan and Curtis is still spot on, and the new additions to the ensemble don't detract from the narrative that won us over two decades ago.

All in all, See How They Run is a derivative amalgamation of too much tribute and too little originality. Don’t get me wrong, it’s fun and the perfect film to bring your Nana to, but it's ultimately pretty forgettable.

It's not the Sandra Hüller movie you might have hoped for, and Sisi & I never communicates any particular reason for us to perceive Sisi through this boring outsider's perspective. But even if the movie doesn't come to a clean point, it maintains a certain grandeur.

As a film that thrives on its leads’ undeniable chemistry, Wolfs draws most of its strength from Clooney and Pitt’s effortless interplay, despite its narrative shortcomings. But for fans of light-hearted action comedies, Wolfs is a howling good time — even if it doesn’t quite sink its teeth in for a lasting bite.

Some well-timed edits maximize the impact of the jokes and help leave necessary horror elements up to the imagination. Even when we don’t see everything, our minds fill in the gaps to make the gore and gags that befall Wes land.

Hardiman’s feature debut is ambitious, even if the overall structure doesn’t always work, and the mystery isn’t as engrossing as it maybe should be. Yet, for all its flaws, it makes up for it in style and its wild cast of characters.

Lightyear is still an extremely fun action sci-fi film that is better than most animated films released in a given year, and will bring a smile to fans of this character.

It's got the heart, humor, and wonderful animation to keep you entertained this holiday weekend.

In the Land of Saints and Sinners is a thoughtful crime drama that features good performances from Liam Neeson and Ciarán Hinds, as well as another standout turn from Kerry Condon.

With energetic dance sequences and a heartwarming bond between a father and a son, K-Pops! is a bundle of joy that rarely misses a beat.

It is inorganic, gimmicky, manipulative, and its lessons are simplistic.

While the narrative is rooted in the use of a sci-fi device, the film is rather light on traditional elements from the genre, relying almost entirely on the personal relationships of the characters and their shared memories to tell a story about the ripple effect one life can have on even the tiniest details of the world around them.

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.

The Offering won’t get any points for originality, but people looking for well-crafted horror can’t go wrong with Park’s latest film.

Miller’s modern fairly tale is full of beauty, love, and care, even if the film often focuses on the grand instead of the modest moments.

Is it a bit baggy and less amusingly chaotic than past entries? Absolutely. However, Bell's return as this character is still grimly fun when he's given room to let loose. Even as time isn't always on his side, he makes the most of nearly every moment.

Magic Farm starts out promising, and there’s a lot to like when it comes to its performances and visuals, but the underbaked plot keeps it from being fully satisfying.

Gudegast's film feels almost artificially programmed in its adherence to criminal caper tropes, unable to steal our hearts with the bromantic charms of cops and robbers with boundary issues.

Moving On is yet another tour de force for Jane Fonda and Lily Tomlin, who once again prove that they are a force to be reckoned with.