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.

Emerald Fennell's film is merely telling a shallow story about two people overcoming all obstacles to fall in love — not necessarily awful on paper, but it's an adaptation that feels like a 14-year-old skimmed the book and jumped to her own conclusions without any true understanding of the novel.

The Ministry of Ungentlemanly Warfare is a wild ride and one of Guy Ritchie’s better recent films even as its characters prove to be rather thin.

The finale could use a little honing (greater context, a little more clarity, some tighter thematic context and background information), but it's still full of enough twists, tension, and surprises to have a solid time at the theater that audiences will be thinking about afterward.

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.

By cutting back and simply sticking to the thrills and the madness of this situation and little else, Bay has made one of his best films in decades.

The Boogeyman is at its best when it strips away all the excess to draw us deeper into darkness.

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.

All through the scattered experience, Page is a shining light. Every move he makes gives the film something greater that it is never able to grasp.

The sluggish pacing and lack of specific characterization make it feel longer than its hour-and-a-half runtime, though the strong performances and beautiful cinematography are just enough to keep it from ever becoming a total slog.

Director Margarethe von Trotta delivers a thoughtful exploration of love in a patriarchal society, which ends up being surprisingly hopeful considering how cruel reality can be.