The Naked Gun's joke-per-minute ratio is truly astounding, and the fact that so many of them hit as well as they do makes that even more impressive. For goodness' sake, even the credits have jokes in them!

By the time the credits roll, Diciannove doesn't give the viewer enough food for thought.

Shoshana may be relevant and powerful, but lacks balance and emotion.

Some jokes run too long, don’t land, or could use another draft. It's a constant stream of cameos, which is overall fun but sometimes a little distracting. But, at its core, the sequel is a good-natured charmer about a troubled everyman who is trying hard to grow up without losing himself in the process, and it gives us a lot to laugh about on the way.

'The Home' is a lame horror misfire saved only by its unhinged third act.

The pacing and comedy feel like they slow down a little at the beginning of the third act, but Ick is largely a very entertaining, engrossing, and endearing take on a classic staple of mid-century sci-fi horror, reworked for the 2020s.

The Fantastic: Four Steps successfully invigorates the MCU, but it’s the tectonic shift that audiences thought it would be.

Finally Dawn can be commended as a homage to Italian cinema and its effort to cater to an international stage, but it stumbles on its ability to follow through on its promises, leaving us a mesmerizing world that ultimately rings hollow.

It's an excellent, if imperfect, crime thriller, capably indicting our era with the same insight that Kurosawa brought to the internet's potential to isolate in Pulse.

Unicorns seems like a much older movie, torn from an era in which queer people were not allowed to tell their own stories, instead being reduced to secondary characters in straight plots.

A messy, confusing and thoroughly unengaging experiment, with the kernel of a good idea underneath.

Smurfs is better than its maligned predecessors, but it's still an absolute mess.

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.

Ultimately, Skillhouse boils down to a bunch of stuff that just happens to characters we don't care about, who make choices that don't make sense for reasons that aren't well grounded, in a place that's poorly shot, in order to say things that have been better said elsewhere.

Empathetic human performances turn Sovereign into more than a typical crime thriller.

To a Land Unknown paints a brutally honest and empathetic portrait of the lives of Palestinian refugees.

Brick fails to offer a compelling solution to its central mystery.

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.

Disney Channel's latest sequel has all the bells and whistles, but not much in the way of substance.

Dreams is probably the same old story for Michel Franco fans, but as a first-time viewer, I was in awe of how a film could go so wrong so quickly.

It ends up becoming one of the best DC films in years, and one of the best movies of the summer.

It is at first a beautiful and ultimately tragic story of teenage dreams, lost innocence, and how abusers’ grasp extends far past their victims.

It does slightly fall off in its final act, becoming aimless and stretched, and ending around 30 minutes after it should. But its first two acts are deeply enthralling, and Vicky Krieps' lead performance is an Odyssean tour de force.

The pieces are all there for a perfect summer favorite, so it’s a shame that none of them really come together to form a cohesive whole.

It works for about half an hour, but its excess of panache eventually gets tiring, and the story's seams are just too frail to hold it together. Still, those dance sequences are really something.

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

There's some fun to be had here, but overall, Jurassic World Rebirth feels indicative that this franchise is not dissimilar from what the original film is trying to say about the ethics of cloning dinosaurs.

The sluggish pacing and lack of specific characterization make it feel longer than its hour-and-a-half runtime, though the strong performances and beautiful cinematography are just enough to keep it from ever becoming a total slog.