While the destination is too easy to determine, this ride-along is solidly thrilling.

Chinatown had sex, greed and water, Body Heat had sex, greed and high humidity, while Mulholland Falls has alluded-to sex, hats and cigarettes bundled with radiation sickness and anachronistic pop psychology references. (Palminteri spouts endless Sensitive Guy pabulum that's supposed to be ironic. It's not.) It's a mess and a shame, considering all the talent involved.

Clerks III delivers all the inappropriate cuss-cluttered humor and pot smoke that is Kevin Smith's trademark but evolves his sentimentality beyond bong-rip wisdom. The third Clerks installment is a moving ode to working-class nobodies that amplifies Smith's touchstone sincerity above Randal's not-so-passive aggression or Jay's lit-for-days attitude.

The movie’s only real sin is some dull lyrics for rough songs. Amy Adams’ return as Giselle is a charming one, and families will have plenty of fun sitting down to watch this sequel together.

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.

Leigh Whannell’s Wolf Man is impeccably made, with a unique take on werewolf lore. But the emphasis is on craft over storytelling.

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.

It’s a shame that The Maze Runner movies are going out on their flattest note, but The Death Cure isn't completely off-key. Wes Ball has directed every entry in the franchise and he’s evolved into a very skilled action filmmaker. Complex set-pieces with an incredible number of moving parts are depicted clearly, excitingly, and with visual panache.

Emilia Clarke charms in this clichéd, kooky Christmas rom-com.

Now You See Me: Now You Don’t serves as a reminder of how they manage to coast by just enough, providing a good time thanks to the notable talent and charm of their expanding cast and the inclusion of the magic trick element to provide a unique flair. It’s the epitome of “We’re just having fun here” entertainment, and while little of it resonates, it mostly gets the job done.

The Marvels is a triumph. Its depth can be seen not just through its characters, but through its story as it explores war's complicated fallout; the difficulty of being a human when you are perceived as a monolith; and the hilarious and complicated virtues of family. Both funny and heartfelt, Nia DaCosta’s MCU debut will have you asking when she and her leading ladies are coming back immediately after the credits roll. It’s a pity that the villain isn’t given much to do, though.

They Will Kill You is a modern action gem with a knockout leading performance by Zazie Beetz, who more than cements her status as a star of the genre we ought to see more of.

There’s a disappointing amount of “same old thing” to Jurassic World Rebirth. Scarlett Johansson, Mahershala Ali, and the rest of the cast are intriguing and sympathetic throughout, but Gareth Edwards doesn’t quite recapture his signature flair for grand-scale visuals nor does David Koepp find the magic of his original Jurassic Park screenplay, opting to follow that movie’s structure as more of a remix than a rebirth.

Director Zobel and writers Lindelof and Cuse, peering through the lens of social media hijinks and polarized politics, paint a ridiculous picture of how we’re all eating ourselves alive. That they do so in such a fun and absurdly bloody way makes The Hunt worth a retweet at the very least.

The Equalizer 2's conventional storytelling is certainly weak, and the violence is particularly brutal, but Denzel Washington and Antoine Fuqua have created a unique Punisher-with-heart vigilante character that is a pleasant thrill to watch and a modest delight to revisit.

The best Disney live-action remake in a decade (not that that’s a particularly high bar to clear), Snow White adapts the broad strokes of the 1937 original, while fleshing out its themes of kindness. Rachel Zegler crafts a remarkable, melodic version of the classic princess who leads with her heart, even if her CGI co-stars are difficult on the eyes.

Frothy, self-aware, and straining for laughs, Hot Frosty is a cup of whipped cream with no hot chocolate.

Tombstone is incredibly entertaining. While not entirely original and not always well executed, it manages to keep your attention for the entire 130-minute duration. And let's face it, Val Kilmer as Doc Holliday is what really sets it apart.

The premise is interesting, some of the scenes are nicely shot, and the acting – especially that of Nikolaj Coster-Waldau and Fanny Bornedal – is believable. Unfortunately, it's also weighed down by predictable twists and lackluster thrills.

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

The big problem with this movie is its length. And the story it tells was really better suited for an episode of the series.

Jungle Cruise is a rollicking adventure full of humor and heart anchored by Dwayne Johnson and Emily Blunt's winning heroes.

Cobweb feels like an incomplete collection of horror ideas that aren't explored to their full potential, but it ultimately succeeds thanks to deranged performances by Lizzy Caplan and Antony Starr.

Shelter ticks all the action boxes for a Jason Statham film, boasting a charismatic supporting cast to ground the conspiratorial stakes with some thrillingly playful fight sequences to boot. But its lackluster script works against the acting calibre of its stars.

It Lives Inside feels desperate to project specific cultural experiences, but it has neither the tact nor the aesthetic flair to weave a competent horror movie around them.

It’s a film that fits perfectly within the confines of a romantic comedy even while it swaps out every familiar element and explores brand-new dimensions in the process.

The film is creepy, violent and sometimes very clever.

Too sweet to be sordid and too gross to be taken seriously, Ryan Kruger’s Street Trash makes a mess of its anti-capitalist message.