Paint is an odd attempt to make a comedy while also doing the least amount to make that comedy actually funny.

Greedy People is somewhat tonally amiss, but not long enough for the experience to self-destruct. It's a fine working backward whodunit from the inside out.

The character-driven action epic from director Niki Caro is at times imbalanced and lacks subtlety. Yet, like its lead, it manages to get the job done.

The Parenting, which boasts an impressive cast including Brian Cox, Parker Posey, and Edie Falco, takes itself just seriously enough to maintain the impact of both the horror and the comedy, and while it doesn't end up being the most original or breathtaking thing you ever saw, it makes for a fun ride with a lot of character and plenty of heart.

Insidious: The Red Door might not be the scariest installment in the franchise, but it feels a lot more human than the others before it. The character moments end up feeling more effective than some of the film's big set-pieces and, while that may bug some genre purists, those who have stuck around since the first film released over 10 years ago will be pleased.

The problem is that these types of films feel lazy and could do so much more with their concepts, and while Screamboat tries to combat that with tame references, winks at the audience, and absurd violence, it can’t keep itself afloat.

The Union combines action, humor, and heat for a fun, exciting thrill ride fit for your next Netflix watch.

If you're a hardcore Hellboy fan, The Crooked Man has enough to keep you engaged. If you're looking for something a little bit more in your dose of Big Red, you might be better off waiting for the next inevitable reboot.

With verve and style, Heart of Stone does a great job of creating a new character in the espionage thriller genre.

When it then shifts into being about the case itself with the characters trying to get to the bottom of it all, the humor feels like it is mostly coasting off of the chemistry of Sandler and Aniston. This can hold things together for a while as both bounce off each other effectively, but the film soon is revealed to just be a recycling of jokes the first film already did better.

Yates makes Pain Hustlers part-rowdy dramedy, part-half-assed takedown, and entirely an underwhelming film that attempts to make apparent and bland points.

Foe, the beautifully shot yet scattered lo-fi sci-fi mystery thriller starring Saoirse Ronan and Paul Mescal, is not a good movie. However, it is an interesting one.

Ricky Stanicky could have easily been a disaster, but thanks to the cast, some effective laughs, and a big heart, it ends up making for an entertaining two hours.

Drifting between heartfelt dramedy and broad comedy, Driver’s Ed doesn’t always blend the two with enough finesse.

Waititi’s latest isn’t bad by any stretch, and isn’t close to his worst (again, Love and Thunder, watch your ass), but as a sports film and a comedy, it is fairly average.

Unfortunately, Dark Match never quite settles on what kind of horror movie it wants to be, and, too often, its overall tone doesn't play to the strengths of its premise.

Luc Besson's Dracula is weird. Really weird, borderline nonsensical at certain points. That being said, its great take on its title character is enough to call this one of the Leon: The Professional and The Fifth Element filmmaker's strongest in recent years. It takes a lot of swings, and while not all of them hit, it nails the stake in the heart of what makes this story so timeless and special.

Finestkind has all the right pieces to make an interesting drama, but Helgeland can’t get them together in a way that isn’t over-the-top and downright silly.

The Old Guard 2 feels like nothing more than setup, with scene after scene of dialogue and exposition and little actual fighting.

It's a tense, mostly successful thriller with a talented cast, but greater artistry in the thematic development and greater novelty in the plotting would enhance the freshness of the crime drama.

Prom Dates mostly blends into the countless other films that cover the same subject matter, but there are a few moments here and there that elevate it to something more. While the characters are thinly drawn and their arcs underbaked, the comedy is there for the most part.

Night Swim is a missed opportunity of epic proportions, and it’s yet another in a streak of Blumhouse projects failing to bring anything new to the horror genre.

The Beast Within, a human tragedy awkwardly disguised in wolf's clothing, stumbles badly.

Poker Face constantly tries to raise the bet and bring new elements to the table, but you quickly realize it’s all a bluff. It doesn’t know how to build tension and anticipation and does no effort to work on its characters. It also doesn’t know how to convey a thrilling poker game, and after stumbling through completely disposable plot points, it tries to wrap its story up with life lessons that are as generic as the movie itself.

It feels stuck in a strange, bland limbo, unsure of what it wants to lean into and truly be. For a movie all about identities, this film lacks one.

Watching the movie is like seeing a concert from a seat in the back corner. You're still there for the music, but you have the view furthest away from the artist himself.

As the film attempts to weave itself into a screwball comedy, it unexpectedly bobs into a weak character study, skewing situations and characters while never quite touching the ground or giving us reason to care.

For now, stick with the original.