Although its leads find the odd moment of charm together, even Kidman in what’s somehow the worst-shaded part of all three, The Upside fumbles far too often when it attempts to enlighten or edify its audience.

While Kevin Smith may never appear on a list of great filmmakers, his movies do understand something essential about getting older and growing up. Sometimes, we all just need to go back to the well.

Wolves is more affecting than it should be by virtue of its cast, who deserve better, but the drama is so schematic that their Herculean efforts leave little impact.

For the majority of its runtime, They/Them seems to entirely forget its pretense of being a horror movie, with long stretches devoid of any sense of tension at all. If its drama was interesting then this wouldn’t have been as much of a problem, but as it stands, the sharp turn into slasher promised by its title feels like a last-minute remembrance in a series of plodding vignettes, something unfortunately furthered by how incredibly toothless the film’s climax comes to be.

Black Water: Abyss is a low-stakes rollercoaster arriving at a time when we’re being barred from theme parks. If you’re looking for some thrills — and maybe even a little adventure — it’ll do the trick. The drama is exhausting, but the situational horror offers a nice distraction, even if we’re admittedly tired of watching people make stupid decisions.

Life of the Party exists in one of those unfortunate places where it’s easy to criticize, but McCarthy still makes you smile, and even laugh.

The potential of this project as an insightful and thrilling look at superheroes was massive, which makes the fact that it’s just so boring and poorly put together that much worse.

American Assassin never transcends the exploitation at its core.

While Uncharted will never be a classic on par with Spielberg’s original swashbuckling adventure, it does no dishonor to that tradition, and even manages to deliver a few unique thrills.

It’s better than you may expect, a mostly tolerable movie made occasionally enjoyable by a few lively performances, one good fight sequence, and a solid punchline or two.

Kill Your Friends is effective and enjoyable in the way that dusty music compilations are.

A relatively accessible, often enjoyable adaptation of the best-selling video game of all time, its family-friendly good heart unencumbered by its overstuffed narrative.

While it’s a reasonably paced thriller, The Prodigy is almost wholly devoid of real scares.

The 15:17 to Paris is too unfocused, too hard to take seriously, and too short to really get invested in it. It’s an Eastwood misfire.

A comedy of manners and femininity gets bisected by gnarly effects, and the two-tone approach works in its way.

It’s still a reasonably funny movie when it hits its marks. It’s just a funny movie prone to going to some ugly, barren wells for laughs throughout as well.

At its best, Paint is a delightful and occasionally awkward ode to art, and how it defines us as creators and consumers. But at its worst, Paint feels, well, pointless.

While Afterlife is not a terrible movie, it can’t escape the burdens heaped upon it.

Angel Has Fallen is maybe the least objectionable of the Fallen series, but that’s not really saying much, is it?

It’s the worst kind of ridiculous: not enough so to be memorably fun, but far too much so to be taken with any degree of gravitas.

Literally every ounce of entertainment value you can get out of Willy’s Wonderland comes from thinking about the premise itself: What if Nic Cage fought demonic versions of the mascots from Chuck E. Cheese? But the budget and the talent around Cage just wasn’t there, which robs Willy’s Wonderland of even the dumb, modest thrills promised on the packaging.

There’s a fundamental disconnect between Cherry’s cynicism and Holland’s innate naivete that just makes the whole affair feel wrong somehow, not to mention crushingly long at nearly two and a half hours.

Fans of [Herzog's] unique style and humor will find much to enjoy in Salt and Fire, even if the film does lack some proper cohesion. Anyone who’s wavering in their critical affections, however, can easily use this as an example of what happens when a good artist buys into their own hype and mythology.

There are plenty of fantastic films with Christian messages, but Miracles From Heaven is more interested in simplistic proselytizing to a heavily evangelical market that just wants their own existing beliefs confirmed. This is what makes the film so frustrating to watch; for the vast majority of its runtime, it’s essentially a good (if not great) family drama.

Power Rangers ably sates all appetites: it’s absurd enough to avoid the self-seriousness that threatens to swallow it throughout, but just straight-faced enough to stop short of the kind of referential irony that would sink it.

If it never fully realizes the horrors of its prescient setup, it’s nevertheless effective in fits and starts.

It’s a big, vulgar, Saturday morning cartoon of a film, to both its benefit and detriment.

Tarzan is too dull to offer consistent pulp excitement, too self-serious to let itself have fun, and too reliant on same-y CG spectacle to truly thrill.