A Big Bold Beautiful Journey tries to be too big and too bold, when it’s the smaller moments in which this film becomes a beautiful journey.

The creatively (and morally) bankrupt and downright offensive biopic glosses over Amy Winehouse’s complicated, and ultimately, tragic life to shine a more flattering light on her father and ex-husband, distorting the real-life events in her life to tell its own narrative.

It's hard to find any redeeming qualities in Last Days. Its pacing and multiple storylines, not to mention jumping back and forth in time, only work to make the viewer disoriented when it comes to bonding with a character who already does not feel that sympathetic.

Ty Roberts’ inspirational sports drama You Gotta Believe relies on age-old playbooks to a fault. It’s a true story and a surefire tear-jerker, but Lane Garrison’s screenplay is reductively hokey at the worst times.

Anaconda had the premise and bones to be something really special when it comes to meta remakes. It had a great cast and a surprising amount of heart, but that's simply not enough to save the movie's rough pacing and pointless subplots from the jaws of a giant snake who barely appears on the call sheet.

You can tell that everybody on the set of Old Dads was having an absolute blast making this movie. It's just a shame that the end product feels so directionless and bland. The attempts to be offensive fail, the emotional beats are never effective, and despite a handful of good laughs and amusing cameos, it's never that funny.

Seinfeld has made a directorial debut that ends up feeling like a bowl of sugary cereal: not a terrible thing to eat, but not as fulfilling or substantial as you might’ve hoped it would be.

Those hoping to see their favorite killer Fisherman tackle some fun action sequences will get their money's worth, even if the villain's resolution will raise a lot of eyebrows. If you're looking for something deeper, like fleshed-out characters both new and old and a twisted mystery tale, then this newest installment doesn't hit the mark.

After the dregs of the first five Transformers films, Bumblebee felt like the shot in the arm that this series needed to make it what it should’ve been all this time. Coming off that, Rise of the Beasts feels like both a step forward and a step back.

There is never a sense that Collette is phoning it in, but the entire narrative around her is just too flimsy to hold together for a full feature. In isolation, there are some solid gags and throwaway jokes that connect. The trouble is that they are just increasingly few and far between. It all makes for a film that oddly feels like it is playing it safe, relying on the charisma of its lead and offering little else beyond that.

With Aquaman and the Lost Kingdom, we get the best and worst of the DCEU, but also a reminder that there’s still hope for these characters, with a bit more focus, and a reminder of what works and what doesn’t with this world.

Hulu's Whitney Wolfe biopic never tries to break free from the predictable confines of the genre.

Dirty Angels is often too serious and too overtly political for its own good.

Suffice it to say, Captain America: Brave New World is not the 2025 start that Marvel fans may be hoping for, with more pressure now being put on Thunderbolts* and The Fantastic Four: First Steps. If anything, the film has more in common with Sony's disastrous attempts to make its own Marvel movies than it does with the prior entries that turned the MCU into what it is today.

It's evident Cave tried her best to steer the ship, but the story feels aimless, and moments after things get interesting, Holland cuts to credits, leaving you equally puzzled and burned out.

Sarandon, Keaton, Gere, Macy, Roberts, and Bracey, elevate the script with a charm that feels entirely natural, and they make these characters shine.

There are a lot of fascinating ideas Green is throwing into Opus, and it's obvious that this is a fully realized concept that he's worked on for years; not only in the script, but in the extra work he's done in fleshing out this world. Still, we don't see enough of that work come across in the finished product, and the ideas here come off as muddled, failing to connect with the audience beyond a superficial level.

Sneaks is borderline unwatchable.

It isn’t the worst shark movie out there, but that’s not saying much. By the time we get to the “big final confrontation,” it loses a handle on what it was going for.

In its own way, Persuasion is trying to persuade its audience that Austen was brilliant in her modernity, when Austen already handled that quite well without Cracknell, Bass, and Winslow’s help.

Despite being a bit tonally uneven, A Little White Lie is a lovable indie dramedy led by the always delightful Michael Shannon and Kate Hudson that is worth bookmarking.

As the name suggests, when you watch The People We Hate at the Wedding, you're going to be watching messy characters doing things that would make someone hate them. The film successfully toes the line of making that kind of cringe comedy without completely sacrificing these characters, despite their many flaws, you do still root for these people, and you want them to resolve their issues and live happily ever after.

The movie might be called Jackpot!, but no one is leaving this one a winner.

Guadagino’s second film as a director isn’t unwatchable by any stretch of the imagination but lacks the clarity of vision that would dominate his later work. While it certainly features impressive performances from young stars Maria Valverde and Primo Reggiani, there’s not much that distinguishes Melissa P. from other coming-of-age dramas.

It's not breaking any new ground, but Prom Queen is a solid enough teen slasher that does a nice job of continuing the ever-expanding universe of R.L. Stine.

Black Adam isn’t a full-on course correction for the DCEU, but it is an encouraging new installment in this larger universe. Collet-Serra knows how to present this darkness and antihero in a way that’s effective, while also fleshing out one of the most promising additions to DC’s ever-expanding cadre of characters.

It's a perfectly watchable movie that feels designed to keep you entertained for two hours on a rainy Sunday afternoon.

Smith is still a competent director, and Consecration can boast some moments of brilliance sprinkled all over it. However, the messy script drags Consecration down, and fans still expecting a new Triangle will have to wait a little longer.