It's another perfect excuse to shove popcorn in your face as you cheer watching Statham beat some people up.

The characters are consistently charming, the humor sufficiently silly, and the animation often beautiful, though the standard path it takes holds it back from fully exploring the potential lurking just beneath the surface. When it all bursts free towards the end is when the film is at its best.

Try as it might to tackle complex themes and serve up some steamy romance, both endeavors fall flat and will likely leave audiences underwhelmed.

It’s that heart that makes Champions better than expected, a shaggy underdog story that might be a bit overlong and a bit awkward in places, but with charming characters that help smooth out these rough edges. In doing so, Bobby Farrelly sticks to his comedic sensibilities, creating an endearing comedy that doesn’t need to break from the formula of similar films that have come before.

For all the anticipation about this being a star turn for Styles, the lack of depth in his performance and of the film itself ensures it won’t leave nearly the impression it set out to.

To see Clooney and Roberts team up again when they have demonstrated in the past (the Oceans movies and Money Monster) that they go together like rum and coke is a lot of fun, but it also makes it undeniably noticeable that they deserve better. I don't mean an Oscar-worthy dramatic biopic. But a rom-com with some nuance and wit.

There are moments of terror near the beginning, but it gets far too tangled up in a generic narrative that drowns out any sense of vision. Even with some striking visual moments and excellent sound design, it is all in service of regrettably very little.

If anyone could’ve updated this story for 2023, it’s Barris—as he's shown with black-ish. But instead, You People is a missed opportunity, a half-assed reinterpretation that is only sporadically funny, and without the heart or the substance that this story would need for it to truly work.

In North Star’s attempt to be sincere and heartfelt, everything feels weirdly prosaic and unduly sentimental. It all makes for an immensely forgettable film.

If you're a moviegoer who desires smart, original horror, skip Witchboard. You're better off just watching Sinners or Weapons again.

The American Society of Magical Negroes is a film that needs bite for its high concept to work, and unfortunately, Libii’s film doesn’t have teeth.

Instead of exploring a twisted version of a magical realm, this pseudo-trip to Neverland keeps things stuck in the real world that the kids of these stories are usually trying to escape.

With The Greatest Hits, Benson gives us the film equivalent of an album with a cool cover that masks the inadequate record within.

It’s exploitative and empathetic. That’s why it feels like it spits you out in an alley to pick yourself back up. Blonde is an alienating movie. To me, that makes it a disarming and effective experience.

If only All Jacked Up and Full of Worms had a script capable of bridging the gaps between its most inspired moments, it could be praised as a refreshing experiment of shock cinema.

Even though the romantic elements aren't as rewarding as the familial ties at the heart of The Life List, the project still has its merits. From Carson's captivating depiction of Alex to Britton's warm and motherly presence, there are parts of this film that will be enjoyable for a viewer looking for something sweet and emotional to tune into for an hour and a half.

García’s latest film is a predictable, completely fine, but uneventful dramedy that never quite finds a way to dig itself out of mediocrity.

Your Place or Mine has a decent premise with a great cast and is fun at times with moments that are sweet and showcase great potential for an enjoyable rom-com, but it never hits the mark and only works in pieces.

Beyond these two endearing actors being able to gleefully chew the scenery, The Gray Man is mostly a collection of tired spy tropes, directed in a muddled and baffling way, that seemingly exists to set up what seems like will be a fairly unimaginative franchise.

The film does so little work to make me care about the girl that came before Rosemary that I simply found myself wondering how she was going to die to properly set up the events of the original.

The truth is that by the film's final moments, the audience will likely leave their viewing experience with a headache and a bitter aftertaste from all the melodrama.

By the time it all eventually wraps up with some lackluster lessons conveyed via a painfully sappy final scene, you’ll wish the film had taken the chance to go on a journey with Keaton and Paige instead of whatever this all was.

Bullet Train is knowingly absurd and has plenty of fun with the wild lengths it can go, and for the most part, that keeps Bullet Train on the rails.

Beyond the ‘90s references, Y2K is an underwhelming, but mostly entertaining movie that never quite goes as far as it should with its concept, comedy, or the relationships between its characters.

Despite its flaws, the film still stands out for its bold visual approach and Golding’s performance to offer a thoughtful yet imperfect reflection on what it’s like to really move on from loss.

It is a slog of epic proportions that utterly wastes the talents of all involved. Completely lacking in cleverness and without any sense of direction, it is a cinematic drought of entertainment that only has any intrigue in how baffling an artifact it remains. It may not be the worst movie of the year, but it is certainly the most annoying.

In spite of its faults, Vanessa Caswill's latest directorial effort offers a pair worth rooting for and winning romantic leads, proving that Monroe and Withers have what it takes to captivate audiences in a genre that they haven't previously been linked to.

This insanely fun sequel takes the franchise in a musically supernatural direction. It's a bizarrely entertaining film full of disturbing imagery, amazingly memorable kills, and one of the best finales in horror history.