The main trio within Sierra Burgess Is a Loser - Shannon Purser, Kristine Froseth, and Noah Centineo - are great, but the movie loses itself when it turns away from its more unconventional and grounded elements and leans into the unnecessary '80s dry rub.

The premise is interesting, some of the scenes are nicely shot, and the acting – especially that of Nikolaj Coster-Waldau and Fanny Bornedal – is believable. Unfortunately, it's also weighed down by predictable twists and lackluster thrills.

Frothy, self-aware, and straining for laughs, Hot Frosty is a cup of whipped cream with no hot chocolate.

The Lord of the Rings: The War of the Rohirrim is a fascinating idea with a lackluster execution, more interesting as a concept than an actual retelling of one of Middle-earth’s famous legends.

While Bertrand Bonnello’s film is a timely, somewhat satirical send-up of dystopian futures and past traumas, The Beast doesn’t quite measure up to its heavy portents of doom.

While the movie has some good sequences, as a whole it never seems to come together - the pacing is all off.

Sick is exceptionally paced and provides slasher thrills with breakneck intensity, but loses traction during a wobbly landing that needlessly overcomplicates an otherwise cutthroat thrill ride.

All five stories in V/H/S/94 feature a cult-like element, but only one of them feels like a true work of madness.

The Woman in the Window has both flash and fizzle. Amy Adams is great in the lead role, presenting us with a shattered recluse who wages war on lucidity daily, but the rest of the cast, while noteworthy, are sort of relegated to being plot pawns. Still, if you're looking for a higher class of claustrophobic Noir, and don't care too much about the resolution, there's a playfulness on display here that might scratch an airport novel itch.

Layered with great performances and an interesting story, The Lady in Red is a good, if somewhat dull exploitative play-by-play of the events that lead to Dillinger's death.

Pet Sematary: Bloodlines tastes a bit better than a nothingburger, but lacks seasoning that you’d hope for from something tied to Stephen King’s bibliography.

Not exactly Errol Flynn, but not the embarrassment that was Disney's Robin Hood, Prince of Thieves is a fun popcorn flick take on the centuries-old legend. And hey, it does have a great cameo by a former Robin Hood as the best King Richard ever.

Stewart’s goals are muddied by his approach, leaving us with a work that has a few pieces of wisdom to offer and a few laughs scattered throughout, but ultimately feels as inconsequential as the TV talking heads it’s trying to critique.

An otherwise plain film about an unlikely friendship between a returned soldier and a mechanic, Causeway is worth watching for Jennifer Lawrence’s best performance in years.

War Machine has just enough juice to prevent it from being a Snore Machine.

For all the fun that the cast seems to be having with Dicks, it’s never as creative in execution as it needs to be. There are chuckles to be had, but the overall experience is defined by narrowness rather than naughtiness.

The Boss Baby: Family Business delivers middle-road mirth, full of action and quasi-clever jokes, and featuring the fun voice additions of James Marsden, Jeff Goldblum, and Amy Sedaris.

Captain Marvel directors Anna Boden and Ryan Fleck's (sometimes very) fun anthology/love letter to Oakland, California doesn’t add enough of its own unique spirit to quite live up to its influences.

The Imaginary fails to capitalisze on some great ideas and wonderful animation. While it will shine as one of the best-looking films of the year with its ambitious 2D animation, that gloss can only do so much for a story that abandons its most interesting elements for a tried and tired rendition of an animated fairytale.

Enola Holmes, starring Millie Bobby Brown and Henry Cavill, is a toothless Fleabag with Sherlock coating.

Paul Feig’s Jackpot! may not know what it wants to be – riotous comedy, sincere drama, or sprawling action film – but its breakout supporting players elevate it from pure mediocrity to moderately entertaining.

Corner Office is a just-okay office satire saved by Jon Hamm playing the anti-Jon Hamm.

Killing Ground is a well-made movie that, at times, is just too plain ugly. It may be mild compared to other “torture porn,” but it still won’t sit very well with everyone who watches it.

Infinite is a chaotic film. Plucking from well-worn cliches, it’s familiar enough to scratch the itch of action entertainment. Yet its world-building is so wonky you might do better to switch off your brain and let the flashy stunts wash over you.

M3GAN 2.0 hotswaps horror for sci-fi/action to mixed results, but M3GAN’s absolutely heinous wit and killer moves leave her, and not the new genres, the star of the show.

The movie is predictable and formulaic and all of those things, but it's great in spite of itself.

It's not high art, that much is certain, but the original Slumber Party Massacre is a fun, gory good ride riddled with scares, flesh and humor.

It does a great job of chronicling the amazing accomplishments of one of the best fighters in the world, but beyond that, it’s a lukewarm documentary that stays close to the surface.