No one will mistake this for Quality Cinema, and it's marred by a confusing, murky ending. But there are some good thrills along the way.

Conan the Destroyer is not an awful follow-up, just a mostly unnecessary one.

Hearts are ripped out, heads are smashed, and there's plenty of flesh to be seen. If that's what you crave for a night of retro viewing, this is your flick.

The main trio within Sierra Burgess Is a Loser - Shannon Purser, Kristine Froseth, and Noah Centineo - are great, but the movie loses itself when it turns away from its more unconventional and grounded elements and leans into the unnecessary '80s dry rub.

Curse of Chucky sees the return of the Good Guys doll you love to hate, but sadly he's back with a whimper, not a bang.

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

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

Whether Piranha was made as an intentionally cheesy spoof of Jaws or a cynical bargain-basement imitation, the fact remains that it's just bad enough to qualify as good. As long as you don't take it too seriously (after all, the filmmakers clearly didn't).

It's not original in the slightest, it doesn't really connect well with the first film, and it's seasoned with the thinnest characters imaginable. But the film is scary in the right places, delivering pulse-pounding jolts and a freaky narrative. If you like the first two [REC] films or this picture's big brother, check this one out.

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

IO provides a different take on a familiar premise. The story is intimate in nature, with a plot that highlights the importance of relationships – not just between partners or family members, but relationships in general. Its pacing and lack of urgency betrays the drama though.

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.

If The Lodge had focused as much on its three leads as it did on building a creepy atmosphere to put them in, it may have been as terrorizing an experience as it aspired to be.

The King of Staten Island lumbers from one thread to another, seemingly uncertain over what it's about.

While its action is reliably thrilling and a few of its most exciting sequences are sure to hold up through the years, Mission: Impossible – The Final Reckoning tries to deal with no less than the end of every living thing on the planet – and suffers because of it. The somber tone and melodramatic dialogue miss the mark of what’s made this franchise so much fun for 30 years, but the door is left open for more impossible missions and the hope that this self-serious reckoning isn’t actually final.

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

Coming 2 America retreads a lot of familiar material, relying on the charm of its cast and pure nostalgia to save it.

Abominable is a simple, sweet, slight story that’s been told before, and told better.

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

When Aquaman and the Lost Kingdom is being an Aquaman story and leaning into the silliness and family aspects of it all, it’s fun. The enjoyable bits are just sandwiched between some ugly effects and a weird first act that feel cobbled together from a very different movie.

Based on a true story, the whole thing is a sloppy mess of football wishes and caveat dreams that will forever be remembered, but never watched in just one sitting.

Natalie Portman excels in Lucy in the Sky, an interesting character study that suffers when mixing fact and fiction.

DC League of Super-Pets may have thoughtful filmmaking on its side, but what it doesn’t have is a voice cast that can lend life and personality to its characters.

Ford v Ferrari is well acted and shot, but the story doesn’t engage, making James Mangold’s latest effort something of a slog.

Director Frankenheimer does his best to keep the film moving, and he succeeds admirably in the final act, but the 90 minutes of dreck that precede the finale are of little interest, perhaps even tainting one's enjoyment of the first film, which is something no sequel should ever do.

Harriet has the best intentions, but despite a powerful lead performance by Cynthia Erivo, the film feels bereft of originality. It’s a shame that a film centering a woman whose life was filled with fear, risk, and compassion couldn’t summon those same elements for its story.

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

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