When it works, it's engaging and there’s just enough to keep you entertained but you can’t help feel the heroes deserve something meatier.

The limitations of the animation keep the characters from ever fully emoting, but it’s the script that lets down the rest of the film. In live-action, with a tighter script, this could have been something special. Instead, it’s largely forgettable.

Jungle eventually leads to an exciting survival story with an intense performance by Daniel Radcliffe and suspenseful scenes that might make you squirm. But it might not be worth the journey it takes to get there.

An entertaining, if a bit predictable, romantic comedy with a good cast. Expect anything more from it and you'll come away disappointed.

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.

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.

Creed II, however, can’t seem to let the past go, abandoning the exciting new path blazed by Coogler in favor of evoking what’s come before, with undeniably diminished results.

Two years after triumphing with the Audrey Hepburn masterpiece Breakfast at Tiffany's, Blake Edwards directs this crossed-wires ensemble caper, which stars David Niven as Sir Charles Lytton, a lothario and master criminal pursued by the bumbling Inspector Clouseau (played by Sellers).

Although featuring some good acting, and certainly ambitious in its critique of the characters, American Animals is too sleepy to strike a chord.

Unlike The Fly, You probably won't remember much of this after seeing it, and when a movie boasts as being no better but equal to the original, you can be pretty sure it isn't.

No one will mistake this for Quality Cinema, and it's marred by a confusing, murky ending. But there are some good thrills along the way.

Conan the Destroyer is not an awful follow-up, just a mostly unnecessary one.

Hearts are ripped out, heads are smashed, and there's plenty of flesh to be seen. If that's what you crave for a night of retro viewing, this is your flick.

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.

Curse of Chucky sees the return of the Good Guys doll you love to hate, but sadly he's back with a whimper, not a bang.

The King’s Man’s triumphant action and epic performances are dragged down by a confused story and overlong runtime.

Despite this flaw, fans of the first film will still find things to like in the sequel.

Whether Piranha was made as an intentionally cheesy spoof of Jaws or a cynical bargain-basement imitation, the fact remains that it's just bad enough to qualify as good. As long as you don't take it too seriously (after all, the filmmakers clearly didn't).

It's not original in the slightest, it doesn't really connect well with the first film, and it's seasoned with the thinnest characters imaginable. But the film is scary in the right places, delivering pulse-pounding jolts and a freaky narrative. If you like the first two [REC] films or this picture's big brother, check this one out.

Angel Has Fallen never quite digs deep enough into its themes and is inconsistent in its execution of action sequences.

IO provides a different take on a familiar premise. The story is intimate in nature, with a plot that highlights the importance of relationships – not just between partners or family members, but relationships in general. Its pacing and lack of urgency betrays the drama though.

The film does manage to provide some fresh thematic punches (and gobs of female nudity for the teen male demographic), and it's clear why Seagal was a popular action star. If only the film was a little flashier, a little edgier and a little more original. Still, it's one of Steven Seagal's finest, if that's saying anything.

If The Lodge had focused as much on its three leads as it did on building a creepy atmosphere to put them in, it may have been as terrorizing an experience as it aspired to be.

The King of Staten Island lumbers from one thread to another, seemingly uncertain over what it's about.

While its action is reliably thrilling and a few of its most exciting sequences are sure to hold up through the years, Mission: Impossible – The Final Reckoning tries to deal with no less than the end of every living thing on the planet – and suffers because of it. The somber tone and melodramatic dialogue miss the mark of what’s made this franchise so much fun for 30 years, but the door is left open for more impossible missions and the hope that this self-serious reckoning isn’t actually final.

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

Coming 2 America retreads a lot of familiar material, relying on the charm of its cast and pure nostalgia to save it.

Abominable is a simple, sweet, slight story that’s been told before, and told better.

Usually the fight sequences are great but the movie itself is poor.

When Aquaman and the Lost Kingdom is being an Aquaman story and leaning into the silliness and family aspects of it all, it’s fun. The enjoyable bits are just sandwiched between some ugly effects and a weird first act that feel cobbled together from a very different movie.

Based on a true story, the whole thing is a sloppy mess of football wishes and caveat dreams that will forever be remembered, but never watched in just one sitting.

Natalie Portman excels in Lucy in the Sky, an interesting character study that suffers when mixing fact and fiction.

DC League of Super-Pets may have thoughtful filmmaking on its side, but what it doesn’t have is a voice cast that can lend life and personality to its characters.

Ford v Ferrari is well acted and shot, but the story doesn’t engage, making James Mangold’s latest effort something of a slog.

Director Frankenheimer does his best to keep the film moving, and he succeeds admirably in the final act, but the 90 minutes of dreck that precede the finale are of little interest, perhaps even tainting one's enjoyment of the first film, which is something no sequel should ever do.

Harriet has the best intentions, but despite a powerful lead performance by Cynthia Erivo, the film feels bereft of originality. It’s a shame that a film centering a woman whose life was filled with fear, risk, and compassion couldn’t summon those same elements for its story.

There are some memorable kills and reverence for the franchise at large, but it stumbles as it brings it to a close.

Underwater is a slick yet flawed sci-fi thriller that never quite breaches greatness.

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.

The wafer-thin story and cookie-cutter characters are laughably standard. Then again, there is a part of me that enjoys the fact that the filmmakers didn't try to make this meaningful, they just want the audience to sit back and stare at this world (and Teegra's curves) in all of its Frazetta-inspired glory.

Though The Devil Made Me Do It is a smart recalibration for The Conjuring series, its successes have little to do with its strengths as a standalone horror movie. Ed and Lorraine Warren's investigation may be an engaging mystery, and their opponent is a franchise-best, but the scares are just not as potent in part because half of them center on a possession victim who’s really not easy to root for.

Bloodshot is unapologetically a popcorn movie of the switch-off-your-brain-and-kick-back variety. Diesel and company soldier through a wonky plot to deliver glowers, superhero poses, and loads of action. Director Wilson brings the heat with solid visual effects and a relentless pace. But keen-eyed viewers will notice the telltale signs of "fix it in post" fiddling.

Mark Wahlberg and Winston Duke's fun chemistry helps elevate the predictable murder-mystery Spenser Confidential.

Be sure to watch the film all the way through the end credits for a clever post-credit cookie (a rarity for this era).

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.

The reclamation project known as Mank falls short. Even with showy performances from Oldman and Seyfried, and its beautiful craft, the film lacks heart. Because underneath the wisecracks and drunken debauchery, in the face of a sweeping political narrative, there’s scarcely an impression of the man.

Caged Heat is a nudity-filled sleaze-fest, that much is certain, but it's also a haunting little trip with plenty of memorable thrills.

As is often the case, what makes this film so enjoyable is the cast.

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.

Paw Patrol: The Movie is a precious and peppy offering for the pre-preteen set that utilizes gentle character drama and buzzy action to stand out as a big-screen adventure. It won't be any parent's first choice, from an animation standpoint, but the standards of storytelling hold firm, making for an overall calm and comforting watch.

With any other actor as the menacing lead, Unhinged would have been a TV movie or straight-to-streaming release, but Crowe and a few well-executed scenes of action still manage to hold the viewer’s interest throughout what’s essentially 90 minutes of genre filler material.

The jokes in the sweet and silly Eurovision Song Contest: The Story of Fire Saga don't always pop as well as its songs.

Tom and Jerry hit the big screen for a hybrid live-action romp that too often feels like it's not even their movie.

Bolstered by a diverse and interesting cast of a kind we don’t see nearly enough, it paints a vivid portrait of the seedier side of the Los Angeles underworld.

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

Bruised is a good outing for Halle Berry as a director, though a better reminder of her as a star. Aside from that, however, the story progression is light on impact.

For a big-studio adaptation of a massively popular video-game, A Minecraft Movie lets a surprising amount of its director’s personality shine through. Napoleon Dynamite’s Jared Hess manages to fit some laugh-out-loud silliness into his Overworld saga before surrendering to the obligations of CG-driven fantasy adventure. Thematically, A Minecraft Movie offers a pat world-is-what-you-make-it lesson, but Jack Black and Jason Momoa in particular sell it with a lot of comic enthusiasm.

There's some tension building that proves effective, but the film is mostly riddled with superfluous characters and pointless scenes.

The performances range from wooden Moussi to full-on Cage, so it's tonally all over the place. As a whole, it's an absolute mess, which makes it kind of perfect for 2020. Still, within this swamp of style, wildness, and TOO too much, there are some truly exhilarating treasures, chief among them Cage. In short, it's not good, but maybe being a lot just enough.

George Clooney's The Midnight Sky is a gorgeous, glossy doomsday odyssey that feels like too big a winter coat on a small, fragile frame.

Willis and Parker are fine in their respective roles, but neither character is given much spark. Willis sulks for most of the picture, grimacing at his enemies and drinking his way through scenes.

Willy's Wonderland is a no-frills splatterfest that, while straining to fill its runtime, finds mid-level chills and thrills thanks to Nic Cage bashing the hell out of weaponized pizza parlor characters. It's a shoestring slasher that gets the job done while also not fully rounding a few of the corners it teases.

Wrong Turn delivers a handful of timely twists and coats the franchise with a new, and vastly more interesting, sheen. It stumbles at times to balance all the themes it's trying to handle with regards to societal ills, individual value, and self-determinism but the end result is still a warped ride that could set up more thrills to come.

While it does some fascinating things with the zombie genre that we haven't seen since George A. Romero, Army of the Dead ends up bogged down by its own self-importance and forgets how fun it's supposed to be. Its promising opening credits sequence is so much better than the rest of the film.

While sci-fi is generally rife with allegories, a steadier hand was needed here in Voyagers. The messaging, though noble and necessary, feels obvious to the point that it takes you out of the film. The cast is talented and the premise is promising, but the story plays out in a predictable fashion, which also works, in a way, to undercut the meaning.

Wrath of Man has plenty of anger and action, and it's at its intriguing best when the entire story gets sorted out and all the players are on the board, but it stumbles at being a time-release mystery.

Resident Evil: Welcome to Raccoon City sticks admirably closely to its source material, but an overly stuffed story and rushed third act hold it back.

What Anderson doesn’t give us is the inner lives of anyone in the film.

John David Washington falls short of the story’s emotional demands, but he brings a desperate physicality as a man on the run, which makes the film just about worth watching.

Belle is a gorgeously animated, futuristic interpretation of Beauty and the Beast that combines dazzling song and eye-popping visuals for a well-meaning yet meandering modern fairy tale. Unfortunately, its heartfelt message is muddled by perplexing plot holes, occasionally grating characters, and a bloated runtime.

Queenpins works best when Kristen Bell and Kirby Howell-Baptiste are allowed to let their effortless chemistry be the focus. Their comedic instincts are pitch perfect as their naïve pursuit of trying to get ahead financially snowballs into a multi-national coupon-stealing scheme that they are entirely unprepared to navigate. But the fun fizzles with depressing side stories, and especially when Vince Vaughn and Paul Walter Hauser commandeer too much screen time with middling results.

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.

The Witcher: Nightmare of the Wolf isn’t a bad film, but it fundamentally lacks an identity of its own.

House of Gucci starts with such promise as Adam Driver, Lady Gaga, and Al Pacino give performances that bring out the emotional complexity of the historically dysfunctional Gucci family. But then Ridley Scott becomes infatuated with tracking the fall of the corporation and its familial machinations instead of zeroing in on the more compelling personal implosion of Patrizia and Maurizio. Too much of the narrative is given over to side characters and scenes that are overindulgent, which lessens the potency of the tragic story and our investment in where they all end up.

Despite the inherent ugliness of watching a rich kid diabolically dig into a mom and dad who are just trying to save their home for the sake of their own children, Home Sweet Home Alone has some decent wit and heart to it. Archie Yates is good as the new precocious protector of his lair, but it's Rob Delaney and Ellie Kemper who anchor the film and give it something resembling a soul.

Zeros and Ones uses the spy genre as a thin mask for a fever dream that evokes nightmarish uncertainty.

The Last Thing Mary Saw is an intriguing and atmospheric but uneven horror offering, with a disappointingly lackluster romance at its center.

Krysten Ritter, along with Winslow Fegley and Lidya Jewett, provide enough pizazz to keep Nightbooks afloat, creating an engaging supernatural hostage scenario.

Night Teeth's winning lead trio and its glossy, electronic buzz save this Collateral clone from sinking into full nonsense. The film's usually interesting, though it never truly strikes with malice or meaning the way it wants to

As a musical, only a few songs really stand out, which is always problematic. There’s also a staginess to the whole endeavor that feels awkward and ham-handed when transposed onto the big screen. But director Joe Wright does get excellent performances from his whole cast, and creates a lush and beautiful period piece playground for the characters to exist within.

A film with sights and sounds you’ve never seen or heard, it’s an intriguing watch with catchy, energetic numbers, even if it doesn’t always land emotionally.

Escape the Undertaker is a benign but effective use of Netflix's interactive abilities. Pairing the most macabre WWE Superstar with the company's most positive players makes for a fun showdown, one that you might wish had made it to official WWE TV -- not in this form, of course, but as a noble "turn to the dark side" storyline.

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.

Ambulance may often be nonsensical, but it’s also the biggest, boldest action movie of the past year and a spectacularly raucous return to form by director Michael Bay.

The Lost City is a decent action-comedy that coasts on the presence of its stars.

Studio 666 features fun performances by the Foo Fighters, but its “kitchen sink” approach leaves it open to unfavorable comparisons to the movies to which it pays homage.

Black Crab has all the ingredients to grab you and take you on a thrill ride -- and at times it achieves this -- but it suffers partial collapse by the end because of its need to land a little loftier than necessary.

Zach Braff and Gabrielle Union are great pillars here, though the film itself isn't consistent enough with its tone, snapping back and forth between sweet sentiment and cheap gags.

Clocking in at nearly two hours, Peter Strickland’s sound-and-food odyssey Flux Gourmet is only ever alluring when its made-up artform (“sonic catering”) is front and center during surreal vignettes. Otherwise, it falls back on rote observations and explanations about what compels its characters to create — a far less engaging experience than actually witnessing that creation.

Memory is a well-made if uninspired action flick that forges an interesting new take on the genre… then forgets all about it.

More distancing than disgusting, Crimes of the Future strings together great body horror ideas but does little with them.

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

The Invitation represents everything that makes for a middle-of-the-road vampire experience, but doesn’t deserve to be wholly written off.

While Tilda Swinton and Idris Elba give it their all, neither can save the film from collapsing in the third act. An unconvincing conclusion undermines a far better first half which sees Swinton and Elba waxing philosophical in a hotel room.

There’s social commentary here, but it’s largely incidental. Instead, Armageddon Time stops short of any meaningful statement, spending most of its time admiring the view.

While Beast certainly does little to innovate in the survival thriller genre, it does serve decent fun for fans that want to see Idris Elba fighting a giant, man-hunting lion.

With shades of Get Out, Culture Shock, and The Forever Purge, American Carnage is yet another frightening-enough, albeit bogged-down, tale about how the American Dream is no longer for everyone.

The Munsters is a wholesome labor of love that’s probably for the most diehard sitcom fans because for better and worse, Rob Zombie makes the Munsters reboot he wants to see.