The Babysitter had potential but director McG treats this material like it’s one of the lamer American Pie sequels. The broadness of the humor detracts from the characters and the story and the horror, instead of complementing them.

It’s a straightforward celebration of these heroes’ lives, with a few meaningful revelations along the way, but nothing that will completely blow your mind. These are interesting, likable people who led interesting, exciting lives.

Goodbye Christopher Robin is a good example of how far a film can go with just the talents of its actors and director, even when the script can feel jarring or emotionally uneven.

My Little Pony: The Movie falls apart in the end because it resolves its conflict the way that conventional blockbusters do, and not in the way that My Little Pony does.

Directed by the team of Mark Neveldine and Brian Taylor, the new film brings all the cartoonish insanity of the pair's Crank saga to the -- let's face it -- cartoonishly insane concept of the Ghost Rider, a burning skeleton in leather who rides an equally fiery motorcycle. It's a match made in, er, hell.

Leatherface is the worst Texas Chainsaw Massacre movie ever.

Kingsman: The Secret Service is a spy movie made by James Bond devotees who know the genre so well that they can have a good time with it while also paying it respect -- and taking it to someplace new entirely.

Flatliners had every opportunity to improve on the original, and it doesn’t take most of them. It falls flat as a horror movie but the cast is good enough, and the sci-fi concepts are interesting enough, to keep it from crashing completely.

It organically expands and grows what came before. It’s a deep, rich, smart film that’s visually awesome and full of great sci-fi concepts, and one that was well worth the 35-year wait.

Gerald’s Game is a set of tightly wound gears that cranks out dread. Carla Gugino and Bruce Greenwood are as superb as they have ever been.

Killing Gunther is an astonishingly unfunny film considering the level of sheer comedic talent involved in it. Its lack of energy or character development keeps the film from ever finding its groove.

Featuring one of Tom Cruise's best performances in recent years, American Made is a darkly funny, dizzying crime film that nevertheless ultimately feels inconsequential and overly familiar.

An unremarkable entry in a cult favorite franchise, Jeepers Creepers 3 offers fans little to get excited about. While the monster still rules its slice of country highway and the skies above it, the rest of the film crashes in the cornfields.

While The LEGO Ninjago Movie does venture into overly cliched and cheesy territory at times, the performances of its actors and excited attitude of the material keep it from ever going stale.

It’s a sincere, and sincerely inept motion picture, and that combination makes Friend Request the exact opposite of scary. It makes it unintentionally hilarious.

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.

What is less certain is whether the breadcrumbs that are available to the viewer the first time through mother! will be satisfying enough for them to do more than run a quick Google search to provide some answers.

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.

IT may not be the best Stephen King movie (even though it comes impressively close), but it’s probably the MOST Stephen King movie.

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

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

Birth of the Dragon is not the Bruce Lee biopic you’ve been waiting for, as strong performances and martial arts action by Philip Ng and Xia Yu are wasted on a movie that had too little faith in the real story.

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.

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.

The Nut Job 2 is one of those rare examples in which the sequel is technically better than the original, but it’s still not a compliment.

The film manages to look at its characters with empathy and understanding, while simultaneously refusing to endorse their actions. And because of that, Matt Spicer’s directorial debut proves to be one of the more successful takes on the social media generation to hit the silver screen.

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.

The times they are a-changin’ but the Coens keep bringing the hits back home. A masterpiece.

While not as powerful as its predecessor, An Inconvenient Sequel: Truth to Power is a compelling documentary.

Kathryn Bigelow's new docudrama Detroit emphasizes immediacy and brutality over historical context.

The Dark Tower is a thoroughly average take on some truly incredible source material. While the fantastic leads do the best with what they’re given, it’s ultimately not enough to compensate for a lack of time spent building characters and their motivations in the script.

With his latest directorial effort, Soderbergh has made a film that not only constantly pokes fun at its own characters and their lives, but finds a way to imbue each of them with a soul and heart along the way.

Despite the talents and charisma of its voice cast, The Emoji Movie fails to deliver on any of its intended messages or themes, with a final act that goes back on everything it had originally been trying to say.

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.

What’s frustrating is that with better lead performers and a tighter script, Wingard could have made a great adaptation. Instead it settles when it should have soared.

Atomic Blonde is one of the best action films of the year.

Dunkirk is a monumental, unconventional, and frequently stunning war movie.

Valerian and the City of a Thousand Planets showcases plenty of cool creatures and ideas for sci-fi fans to savor, but if only the movie's central characters and their relationship were as exciting and interesting as all that impressive eye candy.

Wish Upon is the successor to the Final Destination franchise that no one asked for.

Kumail Nanjiani and Emily V. Gordon have told their own story in a funny, highly engaging way that doesn’t feel precious or sanitized, but instead is relatable and engrossing from start to finish. And you’ll laugh a hell of a lot.

The House isn’t quite another Will Ferrell classic but it’s a solid comedy offering that’s well put together and very funny. It’s as smart as it is stupid, it’s very entertaining, it delivers on what you’d expect it to and holds a few neat surprises.

The Little Hours is an enjoyable comedy that wears a little too thin by the time it’s over.

Spider-Man: Homecoming is sweet, witty, and fast-moving fun.

Officer Downe has nearly every element it needs to be an over-the-top, gross-out, truly funny, deeply weird, comic book adaptation, and some driving music to boot. These disparate elements, however, never jell into a single whole.

The film is particularly disappointing as McTeigue also directed V for Vendetta, a much sharper, much more intriguing, much more thought-provoking look at our post-9/11 world.

The fact that V/H/S Viral frequently substitutes laughs for scares means that the film will disappoint hardcore fright fans. But if you like your horror mixed with laughs, this anthology threequel is a blast.

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.

It may not be Coppola’s most thought-provoking or emotional outing to date, but it’s a chilling and stunningly well-made one nonetheless.

Even though the story isn't as impactful as its stylized packaging, Wright creates a delightful new film that is sure to satisfy his legions of fans.

War for the Planet of the Apes is an excellent closing act to this rebooted trilogy, but also one that does enough world-building that the series can potentially continue from here – and it’s a rare case where, after three movies, we’re left wanting more.

The Last Knight is the loudest and most explosively dull installment yet.

Annabelle: Creation is the rare horror sequel that improves upon the original, featuring more engaging protagonists and a far less problematic ending.

There are a few occasionally effective scares along the way, but the cliched characters and downright idiotic motivations make 47 Meters Below sink before it even has the chance to swim.

Rough Night is a movie that, perhaps, is a lot like one of these parties – it manages to be remembered not as the best time ever, but fondly.

While it feels like it could use a more nuanced antagonist and is hit or miss in the comedy realm, there’s a nice sense of closure here, too, which would make this a perfect and redemptive beat to end the story on – both for the characters and the franchise as a whole.

It Comes at Night is emotional, haunting dystopian horror that will leave you shaken.

There are moments where it reaches out for horror and produces something interesting and distinct from Hollywood’s other blockbusters, but those moments are buried beneath unremarkable and, by the end, tedious action sequences.

Thanks to a top-notch screenplay by Nicholas Stoller, Captain Underpants: The First Epic Movie manages to be both a faithful adaptation of Dav Pilkey’s source material and a fun-filled animated adventure suitable for all ages.

Diary of a Wimpy Kid: The Long Haul is yet another disappointing attempt by Hollywood to deliver an adaptation worthy of its source material.

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.

The most frustrating thing about Ritchie's take on King Arthur is that it has all the necessary elements to be a great version of the story, but rather than giving them to the audience as such, they are put into a blender and thoroughly mixed.

I Am Heath Ledger feels like a glancing take on the actor. It takes us through his professional life, and some of his personal one, but it never provides a full picture of him.

Covenant’s framework and exciting action put enough new spins on the series’ most reliable touchstones that the cast is able to carry it through to a satisfying end.

Chuck doesn’t contribute anything new to the boxing drama that filmgoers haven’t already seen a hundred times before, but with a strong lead performance from Liev Schreiber and a dependable supporting cast, Chuck manages to bring the story of its protagonist to life with heart and respect.

The charming, skillful storyteller George Lazenby himself is the best reason to watch Becoming Bond. The reenactments, while often funny and involving, simply can't hold a candle to the man and his anecdotes.

Pirates of the Caribbean: Dead Men Tell No Tales manages to be less bloated, dreary, and meandering than the last three entries have been, but it still suffers from many of the same wearisome, dredged-up villains and ho-hum action and comedy that have bedeviled the franchise since its second installment.

Baywatch wastes its attractive cast on tired jokes and nothing.

After a while, rather than just being funny (in a dark way), it's questionable why one should sit through the whole thing.

Wonder Woman is leaps and bounds above the other three entries in the DCEU. With a dramatic setting, a few entertaining action scenes, and a strong supporting cast all working together to tell an inspirational Hero’s Journey, it more than offsets some occasionally uneven acting on Gadot’s part and some shaky technical aspects.

With a stunningly honest performance from the director’s son — Jojo Rabbit star Roman Griffin Davis — Silent Night balances the eccentricities of a Christmas get-together with nihilistic acceptance of certain doom, making for a film that’s both bleak and dryly funny.

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

My Hero Academia: Two Heroes is an entertaining but inconsequential feature film take on the popular anime.

Jung’s The Villainess offers enough action to make up for the otherwise confusing complexity of its storytelling.

This belated sequel lacks the wit and charm of its predecessor, resulting in a po-faced action flick that has "straight-to-DVD" written all over it.

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.

Overall the biggest problem with What Just Happened is that its character studies and conflicts are so far inside the eye of Hollywood's celebrity-clad storm that its melancholy calm completely fails to interest anyone.

What Nolan and Co. have created doesn't just function as a thrill ride or even a terrific movie, but rather as a substantive and philosophical examination of why we need heroes, and then when we need them, what they mean.

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

The only question Paul Schrader's murder mystery will leave you with is how long before you fall asleep?

Everything about this "movie" is a joke. What really pisses us off is the fact that: a) Ben is now white (yes, white!); b) there are people doing drugs; and c) there's a sex scene! What in the hell? Not making things any better is a simply ridiculous ending that just about abandons all hope for the movie's success.

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.

Jim Brown: All American is visually impressive, but about halfway through the documentary it gets so defensive and excusive that it stalls. It's as if Lee is forming a defense case rather than exhibiting the man's life.

If Spirited Away can be considered the top anime film of this age, Castle of Cagliostro is most certainly its age-old counterpart, and a true masterpiece.

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.

Alas, The Edge is a film that, quite ironically, loses it.

You know you are in trouble when the back cover of the DVD boasts that "There'll be a lot of thrillin' before Steel himself can start chillin'."

While playing with the trope he made famous, Wes Craven crafted a lighter, more self-reflective tone for Kevin Williamson’s script to shine a light on everything we love (and everything we think is kind of silly) about slasher movies.

Less neurotic than Woody and more fun than the average Sandra Bullock flick, it's a guy flick disguised as a chick flick.

There is a good story to further the violent adventures of Snake along; this is far from it. There are awesome, in-joke-with-your-friends guilty pleasures, and then there's Escape From L.A..

A harmless and fun dark comedy that you'll enjoy casually watching from time to time.

The film is a beautiful work of art to look at with some scenes that you just want to pull off the screen and have framed on your wall. Its use of color, character designs, and subtle CGI combine to create one of the best-looking traditionally animated films ever made.

If you're able to suspend disbelief, the film's strengths outweigh the many weaknesses. The action sequences are a lot of the fun. The adventure is exciting. And the story perfectly replicates the style and tone of a classic adventure or Saturday matinee serial.

A wonderful slice of pulp alien-invasion sci-fi with a dash of conspiracy thriller tossed in for good measure. It plays as a clever X-Files knockoff and as a funny camp classic all at the same time. Low budget sci-fi pictures like these are rarely this entertaining, or good for that matter.

Chinatown had sex, greed and water, Body Heat had sex, greed and high humidity, while Mulholland Falls has alluded-to sex, hats and cigarettes bundled with radiation sickness and anachronistic pop psychology references. (Palminteri spouts endless Sensitive Guy pabulum that's supposed to be ironic. It's not.) It's a mess and a shame, considering all the talent involved.

The writers are comic geniuses, and the experience is so enjoyable that upon viewing This Island Earth's non-MST3K version, a grin will cross your face as you remember this parody masterpiece.

What's so great about Brain Candy is what's great about every classic comedy: it's thoroughly quotable, infinitely watchable and so rich with detail that you'll be laughing at something new every time you watch it.

It's more oriented to the kiddies than Nightmare, but if you want something to watch with your little cousins or nieces or something that will give you something to enjoy as well as them, and you've already seen Tarzan 28 times, check this one out.

[A] one-note, flat comedy.