The truth of the matter is that even a subpar Ryan Reynolds movie features a crap ton of Reynolds Reynolds-ing it up in every scene, and that can be a pretty enjoyable flavor of ice cream, in moderation. The problem is that like ice cream, there’s not much nutritional value here; there are far worse ways to spend 106 minutes of your life, but The Adam Project seems likely to fade from the memories of Netflix viewers relatively quickly — meaning it’s pretty in line with most of the Netflix original films that have come before it.

The terrors put forth by the film are at once specific to the era of its production and timeless in their direct connection to the American experience.

The latest Hellraiser is a massive step forward for the franchise after over 20 years of low-budget, half-hearted misfires. Old fans of the franchise and newcomers alike will no doubt rejoice in Bruckner’s respectful, albeit updated approach to the series, and of course its entertainingly extreme violence.

I might not be able to tell you what exactly Assassination Nation is, but the one thing I can confidently say is that it’s not easy to forget or dismiss.

Life on the Road ultimately makes good in a way that few comedy films based on television characters do. Perhaps part of that owes to Gervais’ not-so-subtle, yet still powerful, insights into David Brent.

Life is like a box of mediocrity. You more-or-less know exactly what you’re gonna get. But for what it’s worth, Daniel Espinosa’s space shocker, while totally born from the same stars as many other films, still lands about half the time.

It’s rough, messy, and overlong, but may well capture the well-intentioned spirit of what it’s trying to do better than the compromised version we got at release. It may even be something I revisit in the future — just maybe not all in one sitting.

There’s a good movie hidden somewhere inside 12 Strong, probably tucked between the many explosions and the endless exposition. Unfussily directed by Nicolai Fuglsig, this is a film that’s all business.

Strays has a surprisingly large joke density, and quite a few of them land in an unexpected way.

Though Harrelson’s performance is nothing if not memorable, it lacks dynamism. His tone and cadence, though booming, becomes familiar as the film barrels on, and the plasticine nature of his prosthetics is distracting.... It’s a good performance, but not a layered one.

The First Purge is every bit as nakedly, hysterically symbolic as its predecessors. But if there’s one thing that the current political climate is teaching us, it’s that a subtle touch isn’t always the solution.

Eddie the Eagle trips plenty, but Eddie, insufferable as he may be, represents the people that in spite of failure being visible at the bottom of a 90-meter ski drop, still take that leap.

That world is so well-realized that the film is worth seeing, but it’s a mild letdown given the number of philosophical queries that it raises, only to leave ultimately unexplored.

Moxie is an inspirational and cathartic journey, representing a dilemma most feminists have faced at one point in their lives. The question of how to use our voices is an important one and Moxie shows that the answers are as varied as the women and men making them. But it’s also an honest look at the challenges and frustrations on the road to gender equality.

Those who follow it down its strange little alley will be rewarded with beautiful music, Isabelle Huppert, and a table-flip for the ages. See it with your mom. It’ll be weird. That’s what Greta would want.

Legacy wears its heart on its sleeve and you can feel the love for the source material. There’s an endearing and timely focus on building community, which is foundational to real witchcraft, and the message that our differences are what make us strong is one worth repeating at every opportunity. Unfortunately, there are key ingredients missing in the cauldron, and the film feels stilted by its narrative arc.

Orphan: First Kill is an almost impossible film to put your finger on, walking that incredible tightrope between chintzy direct-to-video schlock and purposeful, delightful camp. It looks like a BBC production shot for $5, but that leans even harder into its Lifetime-movie-on-crack presentation (and lets you grade its moments of visual grace on a massive curve).

TrumpLand is a valuable film for the open-minded, undecided voter, or those who can’t seem to reconcile their seeming dislike for Clinton with a vote for her; an extended rant on likability in politics is especially effective.

At 90 minutes, Becky should be a taut, hair-raising thriller, one that keeps you at the edge of your seat. It doesn’t. Instead, the thing ebbs and flows, peaking when you expect it to, and sinking when your heart’s just beginning to race.

It all gets a bit too loosey-goosey by its repetitive, redundant climax — there just aren’t enough good jokes left to cover for the fact that, yes, we get it, the bear did cocaine.

Fuqua isn’t interested in pushing the genre forward so much as respecting and updating the model accordingly. The director focuses on establishing his gang of gunslingers sturdily enough that the action becomes easy to engage with, and even get excited about.

It’s a miserable experience — a dull, dated copy of something we’ve seen before — and takes way too long to ever get moving. (It never really does.) In the end, an unimaginative script and underutilized actors make The Little Things as trivial as the title implies.

While the film’s final thesis is a Facebook post with typos at best (delete your accounts, and so on), Niccol is still terrific when he’s breaking down rules, questioning protocol, and testing new ideas.

It’s great to see Arnie and Linda Hamilton in the saddle again, and Davis and Reyes are welcome additions to the cast, but it’s probably time to terminate this franchise for good, and be thankful they went out on this serviceable note.

This sort of small-scale revenge piece is a pretty common occurrence in the direct-to-VOD market, but what elevates Silent Night is Woo’s skill with action, in concert with the lack of dialogue.

The Dead Don’t Die is a zombie movie of an odd stripe, and for all its blatant synthesizing of influences, it never shakes off the impression that it’s working out exactly what it wants to be as it goes along.

Patient, meditative, and sanguine, Adopt a Highway is a rugged slice of Americana.

This is Meg Murry’s movie, and while DuVernay’s visually stunning film may occasionally stumble, Reid does nothing less than soar.