Even though zi isn’t quite the powerhouse of independent cinema that films like Columbus and After Yang were, it does feel like the work that Kogonada needed to do in order to right his sails and figure out where to go next.

In the beginning, it feels like this will be a fresh and fun take on all of those masked villains, but sadly, it quickly becomes little more than a paint-by-numbers slasher that forgot what it was trying to be in the opening scene.

Sweeney takes plenty of risks in a lead role that’s rigorous and emotionally demanding, but the film ultimately feels a bit surface level considering how it approaches horror.

Ghost War wants to feel like a bigger, sharper return for the franchise, but it too often settles for the safest version of itself.

If you're looking for a narrative and humor that matches the heights of the first movie, you'll likely walk away disappointed in how it takes such a hard pivot towards mean-spirited and juvenile attempts at shock value, leaving the heart and relatable stakes of the original completely in the dust.

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.

Tafdrup defangs his feature in the final act, choosing to forego the road less traveled, completely breaking up the tension of an otherwise uncomfortable, tension-filled story.

There’s promise, but Vengeance at times feels like a West Texas version of Under the Silver Lake, but without the focus and care. Unfortunately, Ben’s editor was right, Vengeance is more a theory than a story.

The Bubble feels like the least personal film Apatow has directed so far, a film that seems like more of an excuse to just do something during the pandemic, instead of Apatow having something to say.

If viewers manage to sync with this specific wavelength, they will definitely enjoy Sen’s methodical noir deconstruction. Still, it might be asking too much from the audience, especially where there’s so little payoff to be found in this corner of the Australian outback.

Unfortunately, Lee Cronin's The Mummy is so focused on replicating other horror movies and relying on familiar tropes that it honestly has very little in common with the bandaged monster it's supposed to be about.

Don't Tell Larry feels like it really should have been a half-hour episode of a television sitcom rather than a movie.

Struggling through an identity crisis, The Crow is doing too much and, as a result, doesn't do enough to serve its core narrative.

The Sound of Falling may be one of the most grim films on the female experience you’ll ever see, but it never rises above this darkness to deliver anything illuminating about being a woman.

Reverse the Curse calls its shot with confidence but doesn’t possess the fundamentals to bomb a home run, barely getting on base with this out-of-synch heartwarmer that’s icy to the touch.

There are several interesting ideas and stories floating around Eric LaRue, but Shannon can’t seem to decide which ones to focus on. While there are some genuinely fantastic, inspired moments, they frustratingly never quite come together, leading to a baffling viewing experience. Hopefully, Greer will get another chance in the spotlight of a more worthy film.

Rather than embracing the more nuanced themes, the film shies away from deeper introspection.

If you want to give the 2024 film as fair a shot as possible, go in without seeing the original. However, if you only want to devote your time to seeing one version of this story, it should be the original Speak No Evil. It's truly one of the darkest, meanest, and most devastating horror films out there

Fuze has the bones of a great idea, and one that does seem like a great fit for Mackenzie, given his past work. But Hopkins’ script is too generic an action exercise, from its bland plot to its nothing characters, that it’s hard to find anything to truly care about.

My Spy: The Eternal City is an underwhelming action-comedy sequel that is best as a covert coming-of-age tale, but more frequently suffers as a grab-bag of tonality that abandons what helped My Spy succeed in the first place.

V/H/S/Halloween is dark and demented, and is the funniest movie of this franchise. But if the V/H/S series just turned it down a notch and tried some different storytelling formats, the next one could be even better.

While better than its prior installment, Mufasa: The Lion King still feels like an unnecessary prequel to an unnecessary remake.

The style, tone, heart, and comedy of Aardman deserve better than Dawn of the Nugget’s formulaic story which doesn’t hold a candle to the original.

While it’s certainly great that Daniel Day-Lewis is back in his element, and Ronan Day-Lewis can craft impressive, imposing imagery, Anemone is just too much empty space, waiting to be filled with something.

I do believe that there was a scenario where A Minecraft Movie could have been the next Lego Movie. That's clearly what Warner Bros. likely wanted out of this, but instead, we're left with a mostly disposable live-action family movie that will certainly please the young ones in the audience and will be tolerated by the parents.

Unlike the real-life woman, Lee settles on being ordinary when it could have been extraordinary.

The Sweet East ends up saying quite a bit, though little leaves any real impression.

The Seven Faces of Jane is a curious experiment, but ultimately, a failed one.