Like its unstoppable heroine, Alita: Battle Angel is something strange and unique and special, built from the finest repurposed parts.

The unbridled mess that is Aline is just off-kilter enough to warrant a look, no matter how well you know Céline Dion.

Beverly Hills Cop: Axel F is another magic trick that shows it takes the right alchemy to make something flourish, even if it takes years of experiments to determine the right combination.

There’s a note of reflexive, self-aware irony to it, but portions of Knight of Cups feels as though they’re indulging in precisely this same kind of early-college navel-gazing.

Once Upon a Deadpool doesn’t offer nearly enough new gags to justify its cheeky family-cut re-release. Sure, the bits they add are great – Fred Savage’s hostage situation with Deadpool should have been a cool third of the film – but in the end, it’s a retread as limp as one of Wade Wilson’s re-growing limbs.

It’s a breakneck conclusion to what’s been a breakneck restart.

While the focus occasionally gets lost in the filmmaker’s personal inquisition, it remains a thought-provoking, challenging cap to Greenfield’s life-long body of work.

It is impressive, though, the way the movie works to incorporate new online phenomenons, from Bitcoin to swatting. The latter bit, especially, resonates as one of the film’s most unsettling elements, if only because it feels so depressingly possible. Truly, it’s surprising just how soul-crushing Dark Web becomes after luring us in with so many intriguing mysteries, but, hey, this is the internet we’re talking about.

It’s a shallow exercise in gimmicky scares, but that might be its greatest virtue: it’s a horror film of modest aspirations, avoiding the convoluted mythology of the rest of the series by planting a bunch of scary stuff in a room and setting it off. It all amounts to empty calories, but it satisfies in the moment.

Aladdin could wind up working well for young audiences yet again. For everyone else, however, it’s a bland copy of a lush original. It has the same themes and characters, but without the heart or nuance, despite being 38 minutes longer.

Not all of Killing Gunther lands as well as it should. The humor feels inconsistent at times.

Even if this story doesn’t hold its weight, it contains several worthwhile themes and ideas. Emancipation is an average film searching for something better, but can’t figure out how to get there.

Ma may not cover entirely new ground, but the execution still manages to be refreshing.

This new Lilo & Stitch manages to capture the real emotion embedded in this story, while also nailing all the fun that comes from an agent of chaos discovering he has a heart.

Humor Me is essentially the feature film adaption of writer-director Sam Hoffman‘s web series Old Jews Telling Jokes, and much like ideas that are typically created for a web series, the execution of the material appears to be just a bit too lacking to serve the purpose of a full-length film.

Renfield knows exactly what it wants to achieve and does so effectively, anchored by its lead performances and some very enjoyable super-violent action sequences which earn its R rating honestly.

On top of trying to be a Big, Important Film, Jones is also meant to be a showcase for McConaughey’s post-Oscar relevance as a dramatic actor, and he turns in a solid but unmemorable lead performance.

Another Evil may be a cheap thrill, but it has a unique take on the haunted house genre. Here’s a curious horror comedy that gets richer with every unexpected minute.

Honestly, points go to Chaves and crew for trying something different with The Devil Made Me Do It: perhaps recognizing the formula was getting stale, they decided to try balancing it with some new procedural tricks. But all it ends up doing is scattering the film’s sense of identity even further; we still get the scares, but they don’t work as well, mostly because they deal with people we don’t care about.

Every time you think Hypnotic has fully lost you, it’ll do something just interesting enough to pull you back in.

For Charli’s most devoted fans, The Moment offers worthwhile glimpses into her creative process and the pressures she navigates, but as either comedy or commentary, it never quite breaks free from the very commercial constraints it sets out to expose.

Lyne’s return to the sweat-soaked stage trades bodice-ripping intrigue for repetitive boredom and psychosexual mind games with a straightforward descent into semi-madness.

As a family movie, Detective Pikachu is enjoyable enough. But if the Pokémon games drew players into the world through immersion, it’s then strange that the first major live-action adaptation frequently races through those moments of immersion in order to get to the next sequence of middling buddy-cop banter.

Don’t let Billy Lynn’s Long Halftime Walk‘s technical achievements carry the full weight of its errors. The plot and its poor execution leave the camerawork struggling to find much to dazzle with.

The Hollars deals in weighty personal tragedies, and yet neither the treacly, offbeat humor nor the moments of more straightforward pathos tend to work for any real length of time.

When Lawrence plays to the cheap seats, the film comes to life. When she’s the blank slate expected of a spy thriller, it falters, because it doesn’t play as though she’s concealing or deceiving. It plays as though she’s empty

Compared to a lot of other Adam Sandler movies, Hubie Halloween is watchable without being actually very good.

During the film’s livelier moments, there are some real laughs that erupt, and watching Tatum and Johansson play off each other is a charming reminder of a simpler time. One when America dreamt of the moon, and stars were still the reason audiences went to the movies.