Queenpins works best when Kristen Bell and Kirby Howell-Baptiste are allowed to let their effortless chemistry be the focus. Their comedic instincts are pitch perfect as their naïve pursuit of trying to get ahead financially snowballs into a multi-national coupon-stealing scheme that they are entirely unprepared to navigate. But the fun fizzles with depressing side stories, and especially when Vince Vaughn and Paul Walter Hauser commandeer too much screen time with middling results.

Layered with great performances and an interesting story, The Lady in Red is a good, if somewhat dull exploitative play-by-play of the events that lead to Dillinger's death.

The Witcher: Nightmare of the Wolf isn’t a bad film, but it fundamentally lacks an identity of its own.

House of Gucci starts with such promise as Adam Driver, Lady Gaga, and Al Pacino give performances that bring out the emotional complexity of the historically dysfunctional Gucci family. But then Ridley Scott becomes infatuated with tracking the fall of the corporation and its familial machinations instead of zeroing in on the more compelling personal implosion of Patrizia and Maurizio. Too much of the narrative is given over to side characters and scenes that are overindulgent, which lessens the potency of the tragic story and our investment in where they all end up.

Despite the inherent ugliness of watching a rich kid diabolically dig into a mom and dad who are just trying to save their home for the sake of their own children, Home Sweet Home Alone has some decent wit and heart to it. Archie Yates is good as the new precocious protector of his lair, but it's Rob Delaney and Ellie Kemper who anchor the film and give it something resembling a soul.

Zeros and Ones uses the spy genre as a thin mask for a fever dream that evokes nightmarish uncertainty.

The Last Thing Mary Saw is an intriguing and atmospheric but uneven horror offering, with a disappointingly lackluster romance at its center.

Krysten Ritter, along with Winslow Fegley and Lidya Jewett, provide enough pizazz to keep Nightbooks afloat, creating an engaging supernatural hostage scenario.

Night Teeth's winning lead trio and its glossy, electronic buzz save this Collateral clone from sinking into full nonsense. The film's usually interesting, though it never truly strikes with malice or meaning the way it wants to

As a musical, only a few songs really stand out, which is always problematic. There’s also a staginess to the whole endeavor that feels awkward and ham-handed when transposed onto the big screen. But director Joe Wright does get excellent performances from his whole cast, and creates a lush and beautiful period piece playground for the characters to exist within.

A film with sights and sounds you’ve never seen or heard, it’s an intriguing watch with catchy, energetic numbers, even if it doesn’t always land emotionally.

Escape the Undertaker is a benign but effective use of Netflix's interactive abilities. Pairing the most macabre WWE Superstar with the company's most positive players makes for a fun showdown, one that you might wish had made it to official WWE TV -- not in this form, of course, but as a noble "turn to the dark side" storyline.

All five stories in V/H/S/94 feature a cult-like element, but only one of them feels like a true work of madness.

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 Lost City is a decent action-comedy that coasts on the presence of its stars.

Studio 666 features fun performances by the Foo Fighters, but its “kitchen sink” approach leaves it open to unfavorable comparisons to the movies to which it pays homage.

Black Crab has all the ingredients to grab you and take you on a thrill ride -- and at times it achieves this -- but it suffers partial collapse by the end because of its need to land a little loftier than necessary.

Zach Braff and Gabrielle Union are great pillars here, though the film itself isn't consistent enough with its tone, snapping back and forth between sweet sentiment and cheap gags.

Clocking in at nearly two hours, Peter Strickland’s sound-and-food odyssey Flux Gourmet is only ever alluring when its made-up artform (“sonic catering”) is front and center during surreal vignettes. Otherwise, it falls back on rote observations and explanations about what compels its characters to create — a far less engaging experience than actually witnessing that creation.

Memory is a well-made if uninspired action flick that forges an interesting new take on the genre… then forgets all about it.

More distancing than disgusting, Crimes of the Future strings together great body horror ideas but does little with them.

Corner Office is a just-okay office satire saved by Jon Hamm playing the anti-Jon Hamm.

The Invitation represents everything that makes for a middle-of-the-road vampire experience, but doesn’t deserve to be wholly written off.

While Tilda Swinton and Idris Elba give it their all, neither can save the film from collapsing in the third act. An unconvincing conclusion undermines a far better first half which sees Swinton and Elba waxing philosophical in a hotel room.

There’s social commentary here, but it’s largely incidental. Instead, Armageddon Time stops short of any meaningful statement, spending most of its time admiring the view.

While Beast certainly does little to innovate in the survival thriller genre, it does serve decent fun for fans that want to see Idris Elba fighting a giant, man-hunting lion.

With shades of Get Out, Culture Shock, and The Forever Purge, American Carnage is yet another frightening-enough, albeit bogged-down, tale about how the American Dream is no longer for everyone.

The Munsters is a wholesome labor of love that’s probably for the most diehard sitcom fans because for better and worse, Rob Zombie makes the Munsters reboot he wants to see.