It can’t decide whether it wants to tell the real-life story of respected mob boss Frank Costello and his comrade-turned-scheming-enemy Vito Genovese, or if it wants to skewer the entire genre of films they helped inspire. However, with Robert De Niro in both leading roles, there’s always something interesting to watch, even if it’s buried by mountains of repetitive dialogue.

Gunpowder Milkshake does its formidable cast dirty with a bland script, recycled story, and an empty comic book style that does little but shine up a stale outing.

Zemeckis turns this beloved, dark story into a campy, weird, yet still fairly entertaining kid-friendly story of accepting oneself. The problem is that it pales in comparison to what came before.

Kate is a bland and unoriginal action movie that fails to make us care about its title character.

Shazam! Fury of the Gods may not pull the heartstrings like its predecessor, but there’s no shortage of the chaotic good humor and energetic performances that put Billy Batson and the Shazamily on the map.

Until Dawn is more disappointing than deadly, leaving all the promise of the horror game behind for a jumble of horror-movie re-creations.

It's a by-the-numbers variation on "The Monkey's Paw" coupled with a revenge flick. What makes the film worth seeing is not the story, the production values, or even the work of a truly underappreciated character actors like Henrickson. It's an eight foot tall demon ripping people to spare parts.

The words "overblown" and "pompous" often came to mind. At other times, though, everything comes together-- music, images, and theme-- to really make a stoner go "whooooah."

History of the World: Part I might not be the best effort from Brooks, but it still remains one of his crowning jewels – a testament to bravado irreverent humor and biting wit.

There are a couple of entertaining action sequences, including the climactic battle between the cop and the Predator. The special effects, all shot on film, and the makeup effects, are top-notch for the time they appeared, so as a historical record the movie is interesting. But it just doesn't have enough meat to sate a hungry hunter.

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.

It’s neither funny nor exciting enough to obscure what a miasma of unfocused randomness it is, even though the cast is clearly trying to make something out of all this half-baked material.

The movie plays up sexual innuendo more than a group of junior high school kids, and it comes across almost as juvenile. Some of the jokes are indeed funny, but there aren't enough laughs to propel things through the dry spells.

The Super Mario Bros. Movie is a fireball of animated fantasy. Mario, Luigi, and Peach’s adventure delights with its infectious energy and smart implementations of video game callbacks, and the top-shelf animation renders the Mushroom Kingdom as an Oz-like wonderland that begs to be explored in the inevitable sequels that will follow.

Sweet Girl is front-loaded with fun action, and it has a great performance by Jason Momoa as a widower seeking vengeance against a pharma CEO. But its story slowly loses steam, before being replaced by an entirely different movie with much sillier political messaging.

Frighteningly funny and fresh, this hilarious animated treat will introduce a whole new generation to the loving and strange family whilst also pleasing those who grew up with the iconic '90s movies. With a sweet story, tight runtime, and impressive animation, this is the perfect Halloween treat for film fans young and old!

While Lord of Misrule has its moments, blending folk horror, possession, and murder mystery isn’t enough to make this saggy film pop.

This journey from sun-soaked beaches to chilly English country, from heart-racing flirtation to soul-shattering stress, from new love to old regrets, feels dry and flaccid. Much like Mrs. de Winter, the long shadow of Hitchcock's Rebecca proves just too powerful to ignore.

There's a throbbing theme at You Should Have Left's core about what it means to be a man. But if subtext isn't your jam, you can kick back, switch off, and enjoy the eerie thrills and jolting scares of this satisfying horror-thriller.

Tommy Boy is one of those films that you can watch over and over again. It seems to be on every "Buddy Movie" list and it's always out at Blockbuster.

Ghostbusters: Frozen Kingdom’s tiresome, bloated plot and expansive roster of characters will leave you out in the cold.

Like memories themselves, some portions of the movie feel like they’re on a loop. Luckily, excellent performances from Hugh Jackman, Thandiwe Newton, and Rebecca Ferguson, in addition to some gorgeous production design choices, make this an intriguing watch.

As a piece of the larger Conjuring universe puzzle, The Nun is a fun, if ineffectual history lesson that will provide fans with plenty of dots to connect. On its own merits, The Nun stumbles by not delivering any real terror or investment in its characters, instead resting on its strong visuals and atmosphere and, strangely, humor.

The movie's full of clunky dialogue, underdeveloped characters, and unbelievable scenarios. When all is said and done, Lang's performance just can't save the follow-up from the trappings of horror sequel mediocrity.

A weak script and boring performances make the Netflix fantasy film Damsel a real slog, torpedoing its attempt to be a subversive spin on classic adventure tales. Any sense of wonder or magic is diluted by cheap-looking CGI and its overly repetitive action sequences.

Jennifer Lopez and Josh Duhamel try their best with an interesting premise that’s squandered by script with barely any laughs, gratuitous violence and unconvincing action.

Josh Trank’s somber, small-scale drama is not the guns-blazing Al Capone biopic some gangster movie fans might be expecting, but it’s a curiosity that nevertheless demands a look-see for a fresh take on a crime legend whose most notorious exploits have been retold many times already.

The Meg is a big, dumb shark movie that takes itself a little too seriously, and that’s the point. Jason Statham is perfect for the material, the shark attacks are entertainingly broad, and the supporting cast brings personality to the otherwise straightforward script.

The made-for-TV feel of the production, bland characters and familiar story leads to a pretty forgettable outing.

You'll certainly find better alien mayhem films than Beyond Skyline, but some creative special effects, interesting fights, and fun, alien brain-sucking will keep you moderately – but solidly – entertained.

Certainly, the performances are cheesy and the scripting decidedly non-Shakespearean, but the film remains a terrifying and entertaining offering to the god's of 70's/80's horror. And those gods were good, indeed.

Cameron Diaz and Jamie Foxx do their jobs in Back in Action, assuring that it remains mostly watchable. But it’s ultimately a bummer to watch two well-established stars and versatile actors returning to big-budget filmmaking just to make another spies-versus-real-life action-comedy.

Though the celebrity cast is giant, none of the colorful creatures they’re voicing are particularly memorable. And Krasinski favors trite platitudes over any real insights into the adventure of growing up; his dialogue will leave you pining for the strategic, well, quiet of his last onscreen family. What IF lacks is what it champions: the magical imagination of childhood.

Though its meta-heavy plot gets tiresome after a while, Jay and Silent Bob Reboot is a successful return to form for Kevin Smith. Though it’s a bit rough around the edges, all involved clearly came to have fun and that infectious energy is palpable for the entire runtime. It may be his raunchiest film in years, but it’s also his most emotionally intelligent.

The more The Watchers comes together, the less interesting it becomes. It’s a puzzle best left unsolved.

Watching real planes crashing into real planes on a runway is flatout exciting, and the bombing sequence here is easily the equal of anything that Michael Bay could do.

Neither polished enough to be engaging drama, nor campy or exploitative enough to be effective horror, They/Them is a plodding, tensionless, and ultimately cowardly movie. Even if it had something worthwhile to say, it would have no idea how to say it.

A workmanlike sequel, it lacks the wit and intelligence of its predecessor.

The movie's inherent flaws and jumble of subplots and side characters barely make a scratch into the stereotypes and cookie-cutter story.

Netflix’s Scrooge: A Christmas Carol manages to delight thanks to solid animation, a lively cast, and strong musical performances.

Sylvester Stallone doesn’t seem thrilled to be playing a superhero in Samaritan, a hodgepodge of non-ideas borrowed from better movies.

It’s astonishing that the helmer of The LEGO Batman Movie followed that vibrant, funny, and wildly entertaining offering with an action movie that is such an inane eyesore. And yet that turn still makes more sense than the plot of The Tomorrow War.

American Assassin has some of the more terrifying, brutal, and visceral action sequences to be seen on the big screen so far this year. But the film can’t ever quite manage to maintain the same momentum or intensity as its opening act, thanks to a lackluster climax and sudden left-turn into full blown absurdity.

This should be effective in introducing the world of Uncharted to people who are meeting Nate and friends for the first time, although the changes it makes can be inexplicable and jarring to those of us who’ve spent many games with these characters.

Paws of Fury: The Legend of Hank curiously exists as a Mel Brooks movie remake, though that's also its most redeeming feature.

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.

You can find horror movies a lot better than The Pope’s Exorcist, but in an increasingly stale exorcism subgenre, you can absolutely do worse as well – and Russel Crowe’s Italian accent is unintentionally hilarious.

It’s messy and flawed but it still offers enough entertainment value (mostly thanks to its likable characters) to make it worthwhile.

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.

The worst thing about Joker: Folie à Deux is its unfulfilled potential. It begins with the promise of a novel approach to the Joker and Harley Quinn, placing them in a world where the opposite of cruelty is musical romance. Unfortunately, the DC sequel gets bogged down by a lengthy courtroom saga, which not only keeps the dazzling Lady Gaga away from the spotlight, but centers the movie entirely around its own predecessor, without doing or saying anything new.

There's Someone Inside Your House tries to make you think it's got a catchy, viable gimmick when in reality it's empty and unsatisfying.

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

One of the worst, most inexcusably poor movies Clint Eastwood has turned out in his career behind the camera and a possible contender for one of the worst films of the year. The 15:17 to Paris is so bad in so many ways that it’s impossible to recommend and that’s a crying shame.

Goodnight Mommy might be passable as a standalone, but it’s impossible to recommend over the original. Matt Sobel and ​​Kyle Warren venture somewhere new that still doesn’t differentiate nearly enough for its quieter approach.

Director Karen Cinorre has assembled a cast and production crew who work hard trying to bring life to her frustratingly abstract sketch of an idea that never coalesces into a satisfying narrative, or characters worth caring about.

Snatched has its fair share of laughs, but the film’s attempts at sustaining a legitimate emotional underpinning throughout are unsuccessful, thanks to a lackluster turn from Schumer, and some tiresome writing all across the board.

Director Jason Reitman does his father and fans proud with a funny, sweet, and spooky family movie that proudly takes on the legacy of Ghostbusters, while also introducing something exciting and new.

Outside the Wire is too long, too impenetrable, and not fun enough to warrant its lofty man vs. machine gimmick. It's fun to watch Anthony Mackie assume the role of a smart, cordial killbot, but the film's occasionally exciting bits of action aren't enough to breathe life into this muddled mess of a story.

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

Rampage doesn’t really offer much of anything new as a giant monster movie, a video game adaptation, or a Dwayne Johnson vehicle, but it still checks all the boxes expected from it, offering one just enough entertainment value to not make you completely hate it.

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

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.

Insidious: The Red Door is a satisfying conclusion to the Lambert family’s long nightmare journey into The Further, even if it starts to rely too heavily on jump scares by the end.

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.

Cherry is big on style and features a bouncy, pricey soundtrack but its examination of the grim reality behind the veteran/addiction cycle feels rather routine. Holland breaks down many barriers here, performance-wise, and delivers the goods as a fantastic surrogate for societal ills, but the movie is plodding and, overall, an underwhelming patchwork of previous projects.

Screamboat isn't a good movie, but it can be an entertaining experience if you only care about indulgently bloody kill sequences.

There's not much to marvel at in Netflix's Unicorn Store, Brie Larson's astounding misfire of a directorial debut.

The Marksman is perfectly watchable old man reckoning cinema, held together by good performances by Liam Neeson and young Jacob Perez, but it's ultimately not much more than an assembly line of non-surprises.

Kingsman: The Golden Circle is as cheeky, cartoonish, and crazy as its predecessor, but it’s also commendably unafraid to demolish what had come before it if it’s in service of the story. The new dynamic between Eggsy and his team is great, and the Statesman prove amusing counterparts to these gentlemen spies from across the pond.

The love story between Mark Wahlberg and Halle Berry works, or at least meagerly satisfies, on only surface levels, as does most of the movie.

Even as its ambitions are laudable in casting a wide net over a variety of societal ills, the film can’t quite muster the will to follow through on those ambitions and instead succumbs too often to cliche when complexity was required.

Despite its ultra-low-budget trappings, Hellboy: The Crooked Man is a fun, competent adaptation that offers up a healthy dose of Evil Dead-style supernatural action.

Pacific Rim Uprising is a loyal, if unremarkable, successor to the giddy original.

Heart of Stone is so busy trying to start a franchise that it forgets to be a movie good enough to merit a sequel in the first place.

Brightburn doesn't take its satire to any kind of satisfying extreme – although a mid-credits stinger does include a larger joke at work – but as a superhero murder thriller, it is perfectly entertaining.

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

Despite a capable cast and crew, Foe is a muddled mess that feels more like Black Mirror Lite than powerful sci-fi commentary.

It would be great to see Peter Farrelly recapture the comedic magic he and his brother achieved in their terrific 1990s run, but he doesn’t do so with Ricky Stanicky. It’s focused on too many un-engaging characters with a lot of would-be comedic banter that falls flat, while the attempts to blend drama with humor feel out of place.

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.

On the heels of several other Dracula-based films in very recent memory, Luc Besson’s take on the story doesn't do enough to set itself apart, despite its fair share of weird comedic moments.

Men in Tights does work more often than not, even if the jokes are a little cheaper than normal.

The Old Guard 2 is a disappointing sequel that isn’t as fun or engaging as the first film and doesn’t do enough with its face off between Charlize Theron and Uma Thurman.

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.

The Jesus Rolls, while a passion project for the writer/director/star -- though it's unclear what Turturro wanted to do more: remake Going Places or do a Jesus follow-up? -- comes off like a flat fever dream. The famous faces are fun and at times there's a wee bit of misfit charm, but in the end it's clumsy and churlish.

It may not be a flawless victory but the new Mortal Kombat movie is a fun time for fans of the game franchise.

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.

Night Swim effectively exploits primal fears around water, but its comedy and horror chops aren’t strong enough to keep it from drowning in its more clichéd elements.

Despite having an interesting take on werewolves, The Beast Within proves to be a middling experience.

Despite the good stuff, though, Hunter Killer doesn’t ever really justify its existence. Conceived in 2011, viewing it through any other lens than today’s political climate is impossible.

As a piece of film history, Transformers: The Movie is pretty weak. But as an entry into the lexicon of popular Eighties culture, the Transformers phenomenon is on par with Matchbox cars, G.I. Joe and (at the time) queen Barbie herself. Long live Optimus! Long live Transformers!

Choose or Die boots up a retro-style survival horror that will muster up a few delightful scares for the generation of gamers who grew up with Zork and The Valley of the Minotaur. But beneath this terror-filled glimpse of the ‘80s lies not much more than a bog-standard horror flick.

The psychological thriller-horror film Antebellum mishandles its sensitive & painful subject matter on multiple levels.

The Girl in the Spider’s Web has essentially refashioned Lisbeth Salander into a superhero.

Impressive visuals and a very watchable cast make this a fun popcorn fantasy flick that's at its best when it leans into its genre roots and aims to create a truly fantastical fairytale world.

Despite a starry cast and endearing performance from Joey King, A Family Affair is as messy as the conflicting professional and personal relationships it depicts. A convoluted and superficial script and yawning direction fail to deliver character stakes worth getting behind.

Night School is a familiar comedy with heart that (barely) makes the grade.

Outside of viewing the film as a child or with a group of pals on drunken Saturday night, watching a bunch of loosely stringed sequences of Killer Klowns attacking townsfolk only gets you so far. It's a fun picture. But nothing more.

The Strangers: Chapter 1 might freak you out if you aren’t old enough to remember The Strangers, but where its predecessor was subtle and interesting, Renny Harlin’s reboot chooses to be ridiculous and boring.