This movie wants to get in, get the job done without complication, and get out before it overstays its welcome. On that front, The Rip is solid enough to earn a mild recommendation.

It will make you cry, it will make you uncomfortable, but at the end of the film's runtime, it will leave you with a feeling of profound satisfaction that even the most heartfelt movies struggle to replicate.

A stunning movie that continues to solidify the franchise's legacy as one of the best zombie stories to ever hit theaters.

Although the concept of making a thriller that examines somnambulism seems quite captivating, Sleepwalker doesn't effectively incorporate this complex disorder into its premise, resulting in a puzzling story about a woman going on a spiral without any healing prospect.

For all of its dourness, there is still a bit of entertainment to be found. It's just too bad the film is taking itself far too seriously.

Dead Man's Wire is a successful throwback to the classic crime stories that once dominated cinema.

Bader and Blyth are an irresistibly charming duo, and the decision to move the story's present-day scenes from Palm Springs to Barcelona results in some of the film's most stunning locations. Not only will you be rooting for Poppy and Alex to make things work, but you'll also probably end up with a little wanderlust yourself.

There's a clear command of how to set up a cool/scary/funny scene, execute, and move on before it's stale, and that's a testament to Roberts' skill as director and co-writer alongside scribe Ernest Riera.

With how prevalent the film's themes are in the world today, it's hard to imagine that someone won't find something to relate to in its many branching story arcs.

The performances of Holland and Mara mask the weaknesses of a slightly unfulfilled adaptation, which has charm in its flaws. The ending attempts to set the themes right, but needing to think about it afterward means it's not a film you'll forget about so soon. Seek out The Dutchman. It's well worth the challenge.

Like the songs it’s built around, it’s simple and familiar, and sometimes that’s enough to make a movie feel so good, so good.

The Plague, at times, can be too grueling a watch, especially in its graphic depiction of self-harm. It's also one of the most vital movies in recent memory in capturing what it's like to be 12 or 13 years old.

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.

When it's sexy, violent, or bonkers, it's a wildly enjoyable romp, and lead Sydney Sweeney kills it any time she's allowed to dial emotions up to 10 (as fans of Euphoria or Immaculate can attest to). Was it great? For the majority of its runtime, no. Would I watch the sequel it teases? Yes. Inside you are two wolves, and if they're watching The Housemaid in different parts, the one watching the ending is the happier wolf by far.

This third Avatar film might not have the groundbreaking impact of the first film, or the vast improvement that The Way of Water had over what came before it, but Fire and Ash is still an exceptional moviegoing experience that proves there’s still plenty of gas in this tank.

It settles into a steady rhythm by the halfway point, and goes against the grain of your average survival thriller by emphasizing just how brutal and unfeeling nature is, regardless of how big and strong you are.

At the center of this mess sits a set of performances that are, beyond some writing oddities, pretty good.

Overall, Goodbye June proves Winslet is just as talented onscreen as she is calling the shots, bringing a raw approach to this already emotionally-driven story. Through her thoughtful direction, the ensemble is able to deliver a convincing portrayal of a dysfunctional yet loving family dealing with potential loss and precocious grief.

You know every single beat of how their relationship is going to turn out, but because of how cute the dog is and how cute Deschanel and Cox are together, you can't help but buy into it. They're great together, and their charm elevates a script that could have easily been translated into yet another streaming Christmas romantic comedy.

It's well-acted and not schlocky, but it's one of those presents you open on Christmas, excited to receive it, only to forget about it the next day.

Rosemead is an absorbing and thoroughly heartbreaking movie that deals blow after grievous blow to its audience, and Lucy Liu is just astounding.

Kill Bill: The Whole Bloody Affair might not be Tarantino’s masterpiece, but it’s a brilliant example of a filmmaker with a deep-seated love of movies fully embracing his inspirations and passions in grand fashion.

This version of Merrily We Roll Along doesn’t fix every flaw in the material, but it doesn’t need to. What it does instead is honor how difficult, tender, and painfully human this story has always been, giving it the kind of intimacy that a lot of pro-shots never quite reach. For a musical that was once called a massive flop, it’s got a pretty satisfying second life — and one that’s very easy to roll along with.

Ultimately, My Secret Santa feels like one of the more forgettable Christmas movies of the year. It is not funny or wacky enough to appeal to kids the way Doubtfire does, and it isn't charming or thoughtful enough to appeal to adults.

Fackham Hall holds its own as the first of its kind — and carves out a brand-new niche in the satire landscape.

Where the first movie left fans satisfied with the bare minimum, and non-fans bewildered with boredom, the second installment will likely leave fans even happier and non-fans satisfied with a solidly entertaining robot slasher.

Michelle Pfeiffer is reason alone to watch 'Oh. What. Fun.' even if the film never fully reaches its potential.

It'll get your heart pumping from the very beginning, rarely giving you time to breathe, and boasts a lead performance from an actor who's truly in command of his greatness.