The best Disney live-action remake in a decade (not that that’s a particularly high bar to clear), Snow White adapts the broad strokes of the 1937 original, while fleshing out its themes of kindness. Rachel Zegler crafts a remarkable, melodic version of the classic princess who leads with her heart, even if her CGI co-stars are difficult on the eyes.

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

Tombstone is incredibly entertaining. While not entirely original and not always well executed, it manages to keep your attention for the entire 130-minute duration. And let's face it, Val Kilmer as Doc Holliday is what really sets it apart.

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.

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

The big problem with this movie is its length. And the story it tells was really better suited for an episode of the series.

Jungle Cruise is a rollicking adventure full of humor and heart anchored by Dwayne Johnson and Emily Blunt's winning heroes.

Cobweb feels like an incomplete collection of horror ideas that aren't explored to their full potential, but it ultimately succeeds thanks to deranged performances by Lizzy Caplan and Antony Starr.

Shelter ticks all the action boxes for a Jason Statham film, boasting a charismatic supporting cast to ground the conspiratorial stakes with some thrillingly playful fight sequences to boot. But its lackluster script works against the acting calibre of its stars.

It Lives Inside feels desperate to project specific cultural experiences, but it has neither the tact nor the aesthetic flair to weave a competent horror movie around them.

It’s a film that fits perfectly within the confines of a romantic comedy even while it swaps out every familiar element and explores brand-new dimensions in the process.

The film is creepy, violent and sometimes very clever.

Too sweet to be sordid and too gross to be taken seriously, Ryan Kruger’s Street Trash makes a mess of its anti-capitalist message.

Peter Pan’s Neverland Nightmare is a bleak, mean-spirited take on a childhood classic that trades Peter’s sparkle-bright magic for overbearing seriousness and disappointingly straightforward thrills.

A dreamlike fictional biopic about Marilyn Monroe, Blonde features a stunning, volatile performance from Ana de Armas, whose daring vulnerability is matched by director Andrew Dominik’s equally daring formal approach, which keeps Marilyn in constant conversation with her iconic photographs, with the camera, and with the public at large.

I couldn’t help but feel like Things Heard & Seen would have been a much better film if they stripped away its ghostly elements in favor of everyday horrors that Pulcini and Berman nailed so effectively in its second act.

Blended brilliantly, this remake of Black Christmas makes for holiday horror that's a tantalizing and terrifying treat.

Sure, it's silly and exploitative, but it's also a hoot to watch, particularly for gorehounds, Corman fans and cult enthusiasts.

Vacation Friends may be a touch predictable, but John Cena and Meredith Hagner will make you wish you had friends like them on your next trip.

Sing 2 is more of the same, which is dandy.

While not as sweeping as The Warriors - lacking that film's epic underpinnings - Class of 1984 is a goofy jolt of low-octane ultra-violence.

Clichés combined with poor dialogue and badly drawn characters that lack dimension bog down the heist movie Den of Thieves, which fails to sustain, or generate, any real tension.

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

An impression of much better action films, spy thriller The Gray Man (directed by Joe & Anthony Russo) wastes its all-star cast by giving them little to work with beyond quips. While it eventually becomes watchable, it spends most of its runtime being visually and emotionally indecipherable.

Although Apartment 7A's chills are mild, this decades-late Rosemary’s Baby prequel gets by on atmosphere and strong performances.

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.

PAW Patrol: The Mighty Movie feels more like a legitimate feature film than its predecessor, but it’s still well within the realm of distractor cinema rather than something parents would want to watch with their kids.

Stephen Sommers' throwback to adventure films and screwball comedies has managed to become a modern classic, and a paean to a type of movie that rarely gets made these days.

Bohemian Rhapsody is fun but entirely superficial, playing it safe rather than trying to be as bold or brazen as its larger-than-life subject. It ultimately relies on the magnetism of Rami Malek’s portrayal of Freddie Mercury and Queen’s bombastic, beloved music to make up for its narrative shortcomings and by-the-numbers direction.

Mary Shelley's fascinating life story is told to contain a few brief glimpses of modern insight, but ultimately weakens under its over-use of conventional, romantic storytelling tropes.

Cleaner needed serious editing and instead, seems intent on being long and drawn out to prove some sort of point.

The craziness of David Leitch's train never goes off the rails nor reaches top speeds but still brings us along for a smooth and stable joyride that outshines its recent American action counterparts.

Y2K is a deadly unserious disaster comedy featuring fantastic cyber-monster effects and humor inspired by the time period.

Despite the editing flaws, and the weaker aspects of Branagh's performance and direction, Mary Shelley's Frankenstein is one of the better adaptations of the original, nearly 200-year-old story.

The Cellar has a cool and creepy set up but then fizzles once the answers start arriving.

Insidious: The Last Key may be somewhat engaging but it’s also sloppy and doesn’t amount to much.

The film works, thanks to a surprisingly fun cast, but its best not to take things too seriously and just enjoy the film for what it is -- a brilliantly madcap slasher send-up.

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

Thanks to the charming nature of the characters and their genuine good heartedness, Despicable Me 3 manages to be an entertaining enough film to feel like a decent continuation of the previous two chapters.

Taking itself less seriously and having more fun, its relatively short runtime is packed densely with plenty of action, character development, and campy humor. At the same time, it’s a love story about relationships evolving and learning to grow and trust each other.

Please Don’t Destroy: The Treasure of Foggy Mountain has way more laughs than the standard direct-to-streaming comedy, with some gloriously silly running gags and hilarious non sequiturs. But it lacks any real point of view behind that silliness.

While not without charm, the biggest factors working against Army of Thieves are a confused hybrid of horror and heist genre stories and an approach making it unclear which audience – other than the most ardent of Zack Snyder fans – it’s aimed at.

Migration is a preposterous yet grounded thriller thanks to good performances and centered on a desperate, hopeful plight. Honestly, watch the first movie: It's fun, but you actually don't have to have seen it to enjoy Migration.

Though it features delightfully weird visuals and a stellar turn by Kathryn Hunter, The Front Room can’t find its identity, both on-screen and in its own marketing.

The first chapter in Kevin Costner's epic western series is a meandering, regressive snooze.

This movie has always been a favorite when it comes to the nuttiness of Christmas and family, and it's still a riot. Have a merry dysfunctional Christmas.

Inkheart is one of those "family" movies that ins't necessarily for the entire family. While this is a decent audio and visual presentation, it's probably more suited to a younger audience (the inclusion of a full-screen version is a dead giveaway). Give it a rent if you're curious, but this title simply isn't substantial enough to recommend owning it.

This buddy comedy lives or dies on your affection for its stars, offering complementary shades of good-natured Bostonian ineptitude.

Escape Room: Tournament of Champions twists the puzzle premise of its hit predecessor into an unsolvable slog.

Curse you and your vile coma-inducing powers, Jennifer 8!

Goon: Last of the Enforcers is the rare great sports movie sequel.

If you can compartmentalize the film’s well-intentioned but problematic modernized elements and just focus on the cute dogs then you will likely find Disney+’s remake of Lady and the Tramp a lightweight and engaging distraction to watch at home.

The Predator is, in many ways, a throwback to what made the 1987 original so beloved: it includes many of the same elements, such as the rowdy camaraderie amongst absurdly macho protagonists, a debauched wit, and a primal battle between man and beast. It’s a shame when everything splinters apart in the haphazard and shoddy-looking last half-hour.

The Protégé is so bad that it feels like it has to be on purpose.

Tron: Ares somehow forgets where it came from and relentlessly revisits the original, only making the latest version of the Grid paler by comparison.

While there are some creepy ideas in this surprise Netflix-Blumhouse offering, the quality of Mercy Black is strained.

The Greatest Showman is wildly entertaining even when it’s spectacularly false, which is a lot of the time. But everyone is enjoying themselves on-screen, so you might as well enjoy yourself too.

While there are flaws galore in this live-action movie version, you get a sense that the director has a real love for the original source material. The color schemes and costumes have exactly the right hues and texture, and the ambiance is engaging overall.

Even if you loved Host, skip Dashcam, Rob Savage’s provocative but woefully shallow, ugly, and cruel follow-up.

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.

Zane is an absolute blast, whether doing a little dance or trying to steal his way into each character's soul, he's having too much fun.

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

Watching the film now, it seems like a bit of an anachronism. The story may be set in 1789, but the style and tone of the film is pure 1962. They simply don't make films like this anymore.

If you've ever watched a Saw movie and wished there was no gore and a few more puzzles to solve then you'll likely enjoy this tropey but fun flick.

Tomb Raider fails to develop interesting characters or motives but at least offers viewers some fun action.

Child's Play is a passable but plain remake that's saved by a blisteringly bonkers third act.

Noelle is often lifted up and out of a full rut by Anna Kendrick's energetic and gallantly goofy turn as the North Pole's most deserving and capable Kringle. Without her, Noelle is average fare, rehashing a lot of timeworn cliches from other, more clever, festive films.

Benedict Cumberbatch gives it his all in The Thing with Feathers, but the horror movie lives up to neither his performance, nor its own heavy-handed metaphor of a bullying crow-creature representing grief.

The cast is wasted in such lame roles, and the horror story’s uncertain tone falls far short of intriguing. So, despite one supremely frightening moment, this movie is not scary. It just stinks.

The film is pure sports-movie hokum, done with just enough conviction (much of it courtesy of David Harbour, who's typically excellent in the stock role of a racing veteran-turned-mentor) to help you ignore how relentlessly Gran Turismo advertises the games themselves.

Tolkien may disappoint fans looking for a LOTR origin but will please those who like stories of art, love & friendship.

The Retaliators tries to transform musical stardom into a rock n’ roll horror epic, but suffers from “too many cooks” syndrome as the end product plays disjointed and can feel like a music video demo reel.

Ant-Man and the Wasp: Quantumania has just enough heart, humor, and excellent performances to make up for its more underdeveloped aspects.

I really like the sequel. No, I'll go one step further – I love the sequel. It's missing some major players, both in front and behind the camera. But really, Airplane II has some seriously funny gags.

Bad CGI takes away everything real about the relationship between man and dog in this inherently flawed, technically focused adaptation of Jack London’s age-old classic. Not even Harrison Ford, charming as he may be, can rescue this cynically made film from emotional bankruptcy.

As heartwarming as the story in Leap! can sometimes be, and as strong as the relationship is between Félicie and Odette, her actions can make it difficult to cheer for her as wholeheartedly as the film intends.

Spirit Halloween dodges the bargain bin by opening its doors to a proficient gateway horror tale that plays like Goosebumps Lite in a seasonal decoration store.

Rememory somehow managed to attract Peter Dinklage, Julia Ormond, and other established performers, and yet it completely lets them down.

The Last Mercenary has bounding energy and a fun take on star Jean-Claude Van Damme's past exploits as an action star, but the humor is way more miss than hit and the actual nuts-and-bolts spy plot is a trudge.

The action is thrilling and the science fiction stuff compelling, but there are several occasions where it feels like the screenplay is talking down to its audience, most notably during its heavy-handed climax.

Skillfully made, spooky, stylish, and featuring some quite good character work, The Strangers: Prey at Night stands much taller than the 2008 original. The central killers are plenty scary, and some of the images on display would make John Carpenter proud.

A fun exercise in giant monster madness that indulges in all the kaiju fights fans and even casual viewers could hope for. It looks amazing while also giving its human characters a chance to stay interesting amid all the battling beasties by providing them with some really cool tech -- and some great one-liners among the supporting players. Unfortunately, the film’s plot is needlessly confusing, and not all that smart at times, and the lead characters could’ve used a little more fleshing out.

A soulful ghost story that does an unexpectedly solid job speaking to younger audiences about the afterlife, nailing the film’s appropriately spooky gateway-horror ambitions.

As ugly as it is amusing, Lee Cronin’s The Mummy takes the kind of tonal swings you rarely see from a Hollywood studio.

Sonic’s first foray into live-action is a fast-paced joyride that’ll ring in entertainment for both fans and children.

It looks drab and feels like it was made by people who want to leave its magical premise behind, even though the series refuses to have anything resembling grown-up politics or perspectives.

Harmony Korine’s infrared assassin movie Aggro Dr1ft is a video-game-inspired experiment that’ll have you in a trance.

Monster Hunter runs just over an hour and a half but feels about twice that long thanks to its listless, meandering plot devoid of a central focus or any meaningful world-building.

Not as memorable as the ’80s and ’90s high-school romps and creepshows it pays tribute to, there's still lots of gory fun to be had with director Zelda Williams’ feature-length debut thanks to Newton's electric lead and the sparks she throws off opposite Cole Sprouse’s game portrayal of a reanimated corpse.

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

While Wish is enjoyable, this new Disney fairytale doesn’t measure up to those that came before.

Like a human turned into a creature of the night, Salem’s Lot kicks off with a strong sense of identity that slowly gives way to mindless vampire nonsense.

Despite some terrific race sequences, which Corman shot beautifully, the film, itself, is just a total bore.

I walked out wondering how a mini-series might have better served this historic moment and the men who made it. Still, with all its gaps and flaws, Midway is a serviceable ode to servicemen this Veteran's Day weekend.

The film knows what it is, and lives in its ridiculous skin with an infectious, gleeful attitude. Unfortunately, The Hitman’s Bodyguard also doesn’t know when to say goodbye, and as a result, overstays it’s welcome.

Bird Box Barcelona ekes by thanks to dependable and lived-in performances, but overstays its post-apocalyptic welcome across its almost two-hour duration.

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.

Overstuffed and wearisome, pulpy action comedy Boy Kills World proves that there can be too much of a good thing.