Despite thoughtful visual artistry, and a great dramatic performance from Adam Sandler, Johan Renck’s Spaceman ends up too scattered, and too literal, to make its tale of a lonely astronaut feel remotely important.

A woeful interpretation of the Brontë classic, the star power of which dims the truly violent nature of this tragic story of love and vengeance.

The Ministry of Ungentlemanly Warfare is a solid Guy Ritchie take on World War II that tells an incredible, sort-of-true story that’s plucky, punchy, and quite entertaining.

The Devil All the Time is made purposely provocative by Antonio Campos imbuing an unrelenting gruesomeness into every frame.

Clifford the Big Red Dog is a sweet if shallow kids offering that sometimes soars higher than expected.

Old isn't M. Night Shyamalan’s best work, but it is one that shows maturity – a movie that tackles universal and intense themes over twists and puzzles.

Yesterday doesn’t take too many chances, but it does boast a well-told story with a cast that’s game for both its comedic and more dramatic moments.

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 Boogeyman is a capable creepshow built for mass appeal that gets the job done because at the end of the day, scary is as scary does.

Though Benh Zeitlin clearly has a knack for directing children and an eye for shooting beautiful locales, Wendy ultimately falls flat. The pacing is uneven, the overt messaging spirals from hamfisted to uncomprehensible, and as good as the children at its core are, the film never offers up a story or film that is deserving of them.

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.

Megalopolis is so chock-full of ideas that Coppola’s melding of time periods eventually buckles under its own weight in a controlled demolition that initially confounds, but eventually shatters the screen in thrilling fashion. The film ends up not only being a cautionary tale about the end of empires, but one that likens the Hollywood system to empire as well (or a tyrannical extension of it).

The glee that director James Wan clearly has playing in the world of Aquaman is infectious. He’s made a movie for both types of 10-year-olds: literal kids and those who are 10 at heart. Aquaman is one hell of a popcorn movie.

Violent Night might take a hot minute to find its footing and keeps plucking low-hanging wordplay sugar plums, but at full strength, nobody's stopping Santa from making this year the reddest Christmas imaginable.

Though it starts out as a promising slasher throwback, Clown in a Cornfield struggles with a jokey tone and a political message that lacks teeth.

Though the visual effects aren’t always the best and the third act is a bit overwhelming, strong performances and a refreshing earnestness keep The Flash on track and running circles around many of the recent DC Universe movies. If this is the truly last stop on the Snyderverse express, then it’s a respectable way to go out.

Even Ryan Reynolds and Will Ferrell aren’t charming enough to redeem AppleTV+’s humbug musical adaptation of A Christmas Carol.

Zombieland: Double Tap is a riot, and a lot of that is due to Zoey Deutch and her character, Madison. While it doesn’t quite achieve classic status in its own right, when it comes to sequels that do the original film justice, it is up there. It’s worth the wait, your time and your money.

This is a movie for anyone who has ever loved baseball and for anyone who enjoys the American Graffiti/Stand by Me style of narrative. Highly recommended.

Even though the use of one particular plot device ends up feeling unnecessary and Will Forte can often appear miscast in the lead role, A Futile and Stupid Gesture still conjures up enough real emotions and inventive moments to feel like a worthwhile addition to Hollywood’s often tired biopic subgenre.

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.

Director Jon Favreau's The Lion King is a worthwhile reimagining that relies on nostalgia over risk-taking.

he Secret Life of Pets 2 is a fast-paced string of mostly mediocre jokes that younger audiences will enjoy, but aside from a few centerpieces, there's not much here to capture the attention if you're older than the intended audience.

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).

Though Jessica Chastain delivers a heartfelt performance as Tammy Faye, her faith in the filmmakers can’t save this drama from falling flat.

Bardo speaks the language of dreams, but it also speaks the language of explaining those dreams in the most boring and literal ways.

The Adam Project is a thoughtful, witty mash-up of all the movies from my childhood. It’s Back to the Future meets The Last Starfighter with a slew of wonderful performances from a cast that clearly loves the concept as much as I do. Ryan Reynolds is on top form as Adam, while Walker Scobell matches him punch for punch with a great debut performance.

Hellraiser is a reinvigorated reboot that gets the blood pumping, starting with Jamie Clayton’s worthy Pinhead performance that sets a fresh tone with immense reverence paid to Clive Barker's works.