We Have a Ghost is a mostly bland movie, elevated by a few good performances and an intriguing premise that doesn’t go as far as it seems like it should.

Lilo & Stitch is one of the stronger results of Disney’s non-stop remake campaign, taking the emotional core of the original and amplifying it in a stirring manner.

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.

While the movie's points are clear, they're also cliché – as is the movie's horror. The director's ambition exceeds his grasp, telling a story about characters who are not well-drawn enough to feel either universal or specific. The result is a fraught romance that should be nerve-wracking but instead is mostly dull.

Landscape with Invisible Hand is brimming with ideas and storylines, but they never come together as a satisfying whole.

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

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

Renfield makes a mess of its story at times, but does a good enough job getting gorgeously gruesome with its vampire action sequences to win us over with cartoonish gore – and Nicolas Cage's Dracula is one for the ages.

The Halloween monster mash iconography is incredibly strong and the cast is excellent, but Goosebumps 2 is in far too much of a hurry – and perhaps too eager to be widely accessible – to be actually scary or wholly effective.

Despite its limited scope and predictable plot, The Magician’s Elephant succeeds at being a quaint animated film with a positive message.

The Tender Bar is a coming-of-age dramedy that sails on the backs of the exceptional ensemble cast.

Silent Night, Deadly Night is rare reboot that manages to be naughty and nice.

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.

Hypnotic, starring Ben Affleck, is a sci-fi thriller by Robert Rodriguez with few hints of sci-fi, thrills, or Robert Rodriguez.

Deep Water aspires to be a boundary-pushing erotic thriller but is stuck treading water in the kiddie pool.

Smith’s character gives the story an emotional weight and Reynolds delivers an endearing comedic performance that’s closer to his subversive Deadpool schtick than you’d expect. While video game movies haven’t had the best track record, this movie is by and far the best example of how to do one right.

Malcolm & Marie is a well-acted but frustrating exploration of art and bad romance.

After five great seasons, Luther’s feature film adaptation proves to be a major let down, robbing the title character and his loyal fans of the little delights that made the series work.

Red Sparrow is too disturbing and brutal to be popcorn entertainment, and by trying to make the uncomfortable storylines and interminable torture sequences palatable for the audience, it completely undermines its ability to operate as a serious drama.

Hubie Halloween is aggressively stupid, sure, but it's also occasionally endearing (with a guilty chuckle or two).

The subplot involving the production of a simulated, backup lunar expedition never quite takes off, comedically speaking, but there’s plenty of appeal in pairing an uncommonly bubbly Scarlett Johansson with an agreeably earnest Channing Tatum.

Dirty Mary Crazy Larry is a classic heist chase picture driven by a somewhat dated premise and paper-thin characters. But the film makes up for its faults with dazzling stunt work and great action.

If you haven't read the manga or watched the anime then Tokyo Ghoul S might be an exercise in frustration, though if you love horror, action, ambitious effects work and might enjoy a glam knock-off Hannibal Lecter then it's definitely worth trying out.

Black Friday proves to be a winning combination of gloppy scares, well-crafted characters, and wise commentary.

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.

I'm not sure who first had the idea to fit a father/daughter drama into a rom-com casing but the result is very weird and very unfulfilling. Tonal whiplash is the least of Like Father's problems though as it basically furthers the messaging that Netflix likes to have talented people make unexceptional films.

Puppet Master: The Littlest Reich almost works. The dialogue and performances are unusually good for this kind of material, and the gore effects are shocking. But the changes the filmmakers made to this franchise have unpleasant consequences, which dramatically reduce the film's entertainment value, and arguably rob these iconic puppets of the very characteristics that made them special.

Benicio del Toro's understated performance as a soft-spoken detective is about the only interesting thing about this new Netflix thriller, which drowns a thin murder mystery in lots of ominous atmosphere.