A solid performance from Jason Patric does give the film a little bit of extra mileage, but weak action and an utter waste of Sylvester Stallone's talents as both an actor and action star bog the film down in too many issues to count.

It’s constantly trying to build its own strange mythology to set up sequels that might never come, cracking jokes that rarely hit, and struggling to decide whether it wants to take itself seriously or be more self-aware about its general absurdity.

An Almost Christmas Story is a clear homage to the bygone era of holiday storytelling. Its attempt to emulate that era does admittedly lead to some familiar beats, but An Almost Christmas Story has enough charm and personality to make up for that.

This incredible cast, especially Washington, Nielsen, and the overlooked Pascal, and this expansion of the compelling political machinations make Gladiator II a worthwhile sequel, even if it can't match its predecessor. Gladiator II will leave you entertained, but leave you with an unfortunate feeling of déjà vu.

Elevation is a thin story with every trope and stereotype you've seen from better monster movies

Christmas Eve in Miller’s Point manages to bring to life a realistic portrayal of the holidays, in both its ups and downs, that few holiday films ever even try to accomplish.

It’s an electric, atmospheric, and deeply soulful look at what it means to be human, what it means to have empathy, and how faith should never come before people.

Pedro Páramo uses its supernatural language to inform the audience of the consequences of a collective wrongdoing. It is also remarkably efficient at communicating different storylines to the audience without making viewers get lost in the process.

While the film does make an admirable effort to focus on Neeson's action hero as a true character rather than a mere blunt instrument for fight scenes, but thanks to an overly cliché screenplay, the movie will likely be another forgettable action film in Neeson's filmography.

In an era where film discourse on the internet is consistently restrained to binary concepts like "it's just good" or "it's just bad," Chasing Chasing Amy is an impressive reminder that discussions on the art of filmmaking can be much more nuanced.

It’s an experiment that only works here and there, yet when it works, there’s beauty in those rare moments.

The Gutter demands that you’re on its wavelength, but once you’re there, it’s like continual machine gun fire the way jokes and sight gags fly off the screen.

All in all, the movie is a series of missed opportunities to create compelling storylines, and it's a shame that it doesn't use anything it presents on the screen to its advantage.

It's considerably elevated by strong performances and some excellent directorial and cinematographic choices, but it ultimately is undone by details and narrative pivots that don't work.

If you are hoping to double down on the gore this Halloween season, this delightful, yet cheesy title will fit the bill.

While Ma’s script can feel broader than one might like when it comes to the core dynamic between Sara and Sumi, it thrives as a love story and character study and offers enough heartwarming moments of humor to make it well worth your while.

The timeless style, the gorgeous animation, and the impeccable music make Wallace & Gromit's second feature film a gleeful experience from start to finish. It doesn't reinvent the wheel or do something particularly bold and unique like The Curse of the Were-Rabbit, but it also isn't really trying to. This is a straightforward family-friendly adventure that is simply effective and effectively simple.

It's a beautiful tribute to a legend, packed with footage and interviews that highlight his accomplishments and unique talents, though at times a greater focus on John Williams the man, or a follow-up on certain thought-provoking threads, would be welcome.

When we get to the end of its hefty runtime, we get the sensation that La Cocina tried to be several things — an investigative thriller, a fish-out-of-water drama, a delirious trip of a man who’s starting to get burnt out — and didn’t manage to take any of them all the way.

Your Monster is an engaging showcase of Barrera's considerable talents, as well as proof that Dewey can nail a charismatic rom-com lead role under any circumstances.

Don’t Move is a tense but ultimately forgettable experience that will likely leave you — much like its protagonist — staring tiredly, and blankly ahead.

Road Diary: Bruce Springsteen & The E Street Band is a straightforward yet enjoyable trip with one of the best live bands ever to exist. Yet considering the story that this tour has told so far, it's a bit of a shame that Zimny's documentary doesn't explore the entirety of what this road diary had to offer.

Is Venom: The Last Dance the best film in the trilogy? I would say so, and I'd be lying if I said I didn't have quite a bit of fun while watching it.

Elliot’s stop-motion work feels authentic and unglamorized in ways that we don’t often see in many mainstream animated movies.

Thanks to Itō’s tenacity and focus, Black Box Diaries boldly tells her provocative and haunting story, resulting in a richly drawn portrait of one woman’s fight for justice that’s sure to inspire change in Japan and beyond.

Dahomey may not be for everyone. Unless you’re a history nut or anthropologist, there will be lulls when you find your concentration lagging. However, at a runtime of just over an hour, Diop makes every shot count and packs centuries of history, injustice, and triumph into a dense but vivid documentary.

Brothers is a largely enjoyable comedy, predominantly thanks to its talented central duo and smart direction by Barbakow, though it admittedly suffers from a host of issues baked into the script itself.

This isn't the scariest zombie movie you'll ever see, and the second act begins to drag as it readies itself for the finale, but if you want a highly original one that makes you feel, Die Alone is flesh worth sinking your teeth into.