Despite its flaws, Mr. Harrigan’s Phone remains a careful adaptation of one of King’s most touching stories to date. And while there are not many frights in this horror movie, it remains a solid entry of Netflix’s enviable collection of King’s adaptations.

Chaos ensues, dozens of better movies are ripped off, and despite a few fun kills, it leaves you feeling not very much of anything.

Cameos and fan service are fine to have, but the story has to be there to back them up, and it’s not quite there with The Flash.

The key to what makes this newest retelling work is the combination of Ferrell and Reynolds, both of whom are able to play to their comedic strengths, while also having the opportunity to do some solid dramatic work as well. This duo is delightful, and as they work together on Christmas Eve, it’s wonderful to watch how this relationship shifts.

While the group of actors who play the students offer strong performances, particularly Luke Barker, Ksenia Devriendt, and Florence Baker, Hausner's meandering feature eventually concludes without a real ending.

For as much care and passion that the Hawkes put into Wildcat, the film never knows what it wants to be or even what audience it wants to be speaking to.

It's personal without being indulgent, it's unique without feeling incomprehensible, and it's full of heart and soul without being saccharine.

Director Brad Anderson’s Blood is one of the rare vampire movies to focus entirely on the subject of drug addiction, which could make it a refreshing entry to the subgenre. Unfortunately, Blood’s script leans too heavily on tropes. Besides that, Anderson’s competent direction cannot help with Blood’s mixed messages about drug addiction and an ultimately unlikable protagonist.

So long as you aren’t expecting a masterpiece, Spy Kids: Armageddon proves itself as a fun, spy romp, where kids are king and parents are simply along for the ride. It’s childhood wish-fulfillment to the extreme, straight down to getting to live out video game fantasies and one-hit wonders.

The Tiger's Apprentice is a self-contained, satisfying story that will both entertain and tug at the audience's heartstrings.

Iñárritu has always been heavy-handed but his attempt to be airier creates more areas to bloat. And it gets incredibly unwieldy at points.

Through Wang's astute direction, some moving performances, and well-rounded vision, it is just as provocative as it needs to be, while making for a very entertaining watch.

Without talking about how, why, or in what manner, it is Acken who emerges as the darkly delightful standout of The Sacrifice Game.

Ultimately, the new Hellraiser isn’t entirely bad. It’s just bland. Forgettable. And in the world of horror films, isn’t that worse than being bad?

The Bride! embodies an unconventional and rebellious nature that makes it wholly unique. Whether it's aware of its flaws or not, it's not ashamed to lean completely in. In many respects, The Bride! can come off as being just a little too much. Too much romance, too much theatricality, too much feminism — but sometimes, too much of a good thing is still a good thing.

Don’t Move is a tense but ultimately forgettable experience that will likely leave you — much like its protagonist — staring tiredly, and blankly ahead.

Overall, Goodbye June proves Winslet is just as talented onscreen as she is calling the shots, bringing a raw approach to this already emotionally-driven story. Through her thoughtful direction, the ensemble is able to deliver a convincing portrayal of a dysfunctional yet loving family dealing with potential loss and precocious grief.

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.

Luz is an ambitious film but one that overreaches a little and becomes jumbled as a result, but it shows promise for filmmaker Flora Lau.

Similar to the original, Another Simple Favor manages to defy your expectations. It's a sequel that never feels hellbent on just repeating the same plot beats as the first. While it does get too cocky in delivering dozens of plot twists, the sexiness and soapiness are still there.

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.

Alienoid is a movie that wants to be everything and satisfy everyone, and when you try to satisfy everyone, you invariably end up satisfying no one.

Beast has its flaws and is mostly by-the-numbers, but if the idea of Idris Elba fighting a lion is something that is of interest to you, then Beast is going to deliver.

What Last Rites gets most correct is its family dynamics, hearkening back to the first film's initial moments and providing a strong thread throughout the series. Farmiga, Wilson, and new and returning characters all pull this off brilliantly.

All the clear love the film has for the references it is throwing out is never molded into anything memorable of its own.

Kosinski has already made one of the year's best movies with Maverick, and with an extremely intriguing concept and fantastic performances all around the board, Kosinski has for the second time this year made one of the best movies of this summer.

Don Lee comes out the other side unscathed since his charisma helps carry most of the story and he’s always fun to watch.

Kung Fu Panda 4 is a film all about deciding to not do the easy thing of remaining stagnant and comfortable, but rather, trying something new and hopefully finding the greatness in the new opportunity. Kung Fu Panda 4 similarly does this, attempting a new approach to this world and mostly finding success, while also potentially setting up the future of where this series could go.