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.