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

This is a Star Wars movie missing the thrills, the surprises, the challenges, the addition of really anything of note to the franchise, not to mention a vested interest in seeing its characters grow and change. This is not the way.

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.

Extremely Wicked, Shockingly Evil and Vile has some interesting ideas about how little we know the people we love, and about the power of a celebrity cult status. But no matter how good Zac Efron’s performance as Ted Bundy is, this is the tamest way to explore such a complex and interesting story.

As much as its focus is technological, it’s an emotional exploration too – a wry and thoughtful magnification of what life feels like when you lose and re-discover your purpose, or you learn to see yourself through someone else’s eyes.

Idris Elba’s directorial debut is an atmospheric and catchy DJ Noir about criminals who’d rather spin vinyl than sell cocaine, and it’s an impressive first film, only held back by the conventions in the plot. But it’s the details of Yardie’s world that make it worth visiting.

Solid fundamentals make It’s a Wonderful Knife an enjoyable Christmas slasher, although not as inspired as the writer Michael Kennedy’s previous work.

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

Josh Hartnett anchors Trap with a great performance as a serial killer penned in at a pop concert, but M. Night Shyamalan’s latest film falls apart in its third act.

It takes Death on the Nile far longer than it should to reach its most impactful moments, but actor-director Kenneth Branagh cares deeply enough about Detective Poirot to make it work.

Eternals is beautifully shot and terrifically acted, but it bites off more than it can chew in its third act.

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.

It’s a classy, riveting remake, and it will make you want to see even more adventures featuring this particular Poirot.

An entertaining plot, impressive script, fantastic cast, and awesomely shot action make Charlie's Angels one of the most unexpectedly fun films of the year.

It mixes the throwback feel of an old-school spy story with an engaging scenario about a tech-savvy CIA analyst thrust into the field for decidedly dark reasons. The direction and a strong cast help sell this vibe and make for an entertaining time, even if it comes to a less-than-satisfying conclusion.

Superfly features an appealing lead, and captures small tastes of amazing, striking cool, but is also bogged down by plot and characters that reduce an otherwise slick flick into something that is more capable than amazing.

Windfall is a tight, smartly constructed thriller that succeeds on the strength of its performances.

While Anyone But You isn’t a bold new take on traditional romcom formulas, it becomes an infectiously sincere and easily watchable movie featuring a charming ensemble cast and great situational comedy.