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.

Bloodshot is unapologetically a popcorn movie of the switch-off-your-brain-and-kick-back variety. Diesel and company soldier through a wonky plot to deliver glowers, superhero poses, and loads of action. Director Wilson brings the heat with solid visual effects and a relentless pace. But keen-eyed viewers will notice the telltale signs of "fix it in post" fiddling.

Mark Wahlberg and Winston Duke's fun chemistry helps elevate the predictable murder-mystery Spenser Confidential.

Be sure to watch the film all the way through the end credits for a clever post-credit cookie (a rarity for this era).

Stewart’s goals are muddied by his approach, leaving us with a work that has a few pieces of wisdom to offer and a few laughs scattered throughout, but ultimately feels as inconsequential as the TV talking heads it’s trying to critique.

The reclamation project known as Mank falls short. Even with showy performances from Oldman and Seyfried, and its beautiful craft, the film lacks heart. Because underneath the wisecracks and drunken debauchery, in the face of a sweeping political narrative, there’s scarcely an impression of the man.

Caged Heat is a nudity-filled sleaze-fest, that much is certain, but it's also a haunting little trip with plenty of memorable thrills.

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

Infinite is a chaotic film. Plucking from well-worn cliches, it’s familiar enough to scratch the itch of action entertainment. Yet its world-building is so wonky you might do better to switch off your brain and let the flashy stunts wash over you.

Paw Patrol: The Movie is a precious and peppy offering for the pre-preteen set that utilizes gentle character drama and buzzy action to stand out as a big-screen adventure. It won't be any parent's first choice, from an animation standpoint, but the standards of storytelling hold firm, making for an overall calm and comforting watch.

With any other actor as the menacing lead, Unhinged would have been a TV movie or straight-to-streaming release, but Crowe and a few well-executed scenes of action still manage to hold the viewer’s interest throughout what’s essentially 90 minutes of genre filler material.

The jokes in the sweet and silly Eurovision Song Contest: The Story of Fire Saga don't always pop as well as its songs.

Tom and Jerry hit the big screen for a hybrid live-action romp that too often feels like it's not even their movie.

Bolstered by a diverse and interesting cast of a kind we don’t see nearly enough, it paints a vivid portrait of the seedier side of the Los Angeles underworld.

Enola Holmes, starring Millie Bobby Brown and Henry Cavill, is a toothless Fleabag with Sherlock coating.

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.

For a big-studio adaptation of a massively popular video-game, A Minecraft Movie lets a surprising amount of its director’s personality shine through. Napoleon Dynamite’s Jared Hess manages to fit some laugh-out-loud silliness into his Overworld saga before surrendering to the obligations of CG-driven fantasy adventure. Thematically, A Minecraft Movie offers a pat world-is-what-you-make-it lesson, but Jack Black and Jason Momoa in particular sell it with a lot of comic enthusiasm.

There's some tension building that proves effective, but the film is mostly riddled with superfluous characters and pointless scenes.

The performances range from wooden Moussi to full-on Cage, so it's tonally all over the place. As a whole, it's an absolute mess, which makes it kind of perfect for 2020. Still, within this swamp of style, wildness, and TOO too much, there are some truly exhilarating treasures, chief among them Cage. In short, it's not good, but maybe being a lot just enough.

George Clooney's The Midnight Sky is a gorgeous, glossy doomsday odyssey that feels like too big a winter coat on a small, fragile frame.

Willis and Parker are fine in their respective roles, but neither character is given much spark. Willis sulks for most of the picture, grimacing at his enemies and drinking his way through scenes.

Willy's Wonderland is a no-frills splatterfest that, while straining to fill its runtime, finds mid-level chills and thrills thanks to Nic Cage bashing the hell out of weaponized pizza parlor characters. It's a shoestring slasher that gets the job done while also not fully rounding a few of the corners it teases.

Wrong Turn delivers a handful of timely twists and coats the franchise with a new, and vastly more interesting, sheen. It stumbles at times to balance all the themes it's trying to handle with regards to societal ills, individual value, and self-determinism but the end result is still a warped ride that could set up more thrills to come.

While it does some fascinating things with the zombie genre that we haven't seen since George A. Romero, Army of the Dead ends up bogged down by its own self-importance and forgets how fun it's supposed to be. Its promising opening credits sequence is so much better than the rest of the film.

While sci-fi is generally rife with allegories, a steadier hand was needed here in Voyagers. The messaging, though noble and necessary, feels obvious to the point that it takes you out of the film. The cast is talented and the premise is promising, but the story plays out in a predictable fashion, which also works, in a way, to undercut the meaning.

Wrath of Man has plenty of anger and action, and it's at its intriguing best when the entire story gets sorted out and all the players are on the board, but it stumbles at being a time-release mystery.

Resident Evil: Welcome to Raccoon City sticks admirably closely to its source material, but an overly stuffed story and rushed third act hold it back.

What Anderson doesn’t give us is the inner lives of anyone in the film.