The film is pure sports-movie hokum, done with just enough conviction (much of it courtesy of David Harbour, who's typically excellent in the stock role of a racing veteran-turned-mentor) to help you ignore how relentlessly Gran Turismo advertises the games themselves.

Please Don’t Destroy: The Treasure of Foggy Mountain has way more laughs than the standard direct-to-streaming comedy, with some gloriously silly running gags and hilarious non sequiturs. But it lacks any real point of view behind that silliness.

Bird Box Barcelona ekes by thanks to dependable and lived-in performances, but overstays its post-apocalyptic welcome across its almost two-hour duration.

The result is a visually rich film that finds moments of entertaining inspiration but suffers from a frustrating lack of focus.

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.

Without Cagney, this movie would still be memorable, but probably only as a minor footnote to the better gangster films to come. With Cagney's smart acting, this movie is a decent watch.

A semi-confusing script and heavy-handed direction from David Ayer muddle the proceedings, but enough inspired pizazz and Statham’s earnest delivery of lines like “I protect the hive” just barely bring it all home.

Pet Sematary: Bloodlines tastes a bit better than a nothingburger, but lacks seasoning that you’d hope for from something tied to Stephen King’s bibliography.

Glitch: The Rise and Fall of HQ Trivia is a fascinating look at the compressed life and death of the HQ Trivia app. It’s a familiar tale of tech failure, but the details – and the massive popularity of the app – make it an interesting one to watch.

No One Will Save You is at its best when it marries the tension of a home invasion thriller with the thrills of an alien abduction film, and Kaitlyn Dever proves she has the chops to carry a whole movie on strength of her facial expressions alone. However, the film ultimately fumbles when it becomes both a convoluted action film and an on-the-nose parable about overcoming grief and guilt.

Though its predestined, blockbuster exorcism sequence just manages to provide a satisfying conclusion to the story, the underdeveloped synchronized possession element creates more problems than it solves and adds bloat to a movie which would have benefitted from a leaner, more measured approach.

A strong sense of action and movement, but lacking on that whole talking thing.

Satanic Hispanics attempts to bring authentic Latin folklore to modern horror audiences and boasts great doses of monsters and gore. Unfortunately it’s also held back by some uneven storytelling and humor that doesn’t always land.

For all the fun that the cast seems to be having with Dicks, it’s never as creative in execution as it needs to be. There are chuckles to be had, but the overall experience is defined by narrowness rather than naughtiness.

The Imaginary fails to capitalisze on some great ideas and wonderful animation. While it will shine as one of the best-looking films of the year with its ambitious 2D animation, that gloss can only do so much for a story that abandons its most interesting elements for a tried and tired rendition of an animated fairytale.

Godzilla x Kong: The New Empire serves up a berserk dreamscape with plenty of payoff to please the MonsterVerse faithful. Shame about the human stuff, though.

While Bertrand Bonnello’s film is a timely, somewhat satirical send-up of dystopian futures and past traumas, The Beast doesn’t quite measure up to its heavy portents of doom.

What it lacks in so-bad-it’s-good silliness it makes up for with its heart and mostly practical slaughterfests. Kevin Bacon and Peter Dinklage having an absolute blast in their roles doesn’t hurt, either.

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

While Lord of Misrule has its moments, blending folk horror, possession, and murder mystery isn’t enough to make this saggy film pop.

Terrifier 3 is a bounty of practical effects riches that cannot be denied, but its storytelling is scattershot in ways that hold the sequel back.

Imaginary nearly perfects its so-bad-it’s-good shtick. This is not a good movie, in the traditional, artistic sense – but it is a total joy to watch if you’re willing to buy into its particular blend of juvenile scares and stupid self-seriousness.

Night Swim effectively exploits primal fears around water, but its comedy and horror chops aren’t strong enough to keep it from drowning in its more clichéd elements.

The movie leaps to life whenever the bullets start flying. It's the generic gangland stuff in between that's not up to snuff, even with Hardy lending his trusty gruffness to the haunted-cop boilerplate.

Blink Twice confirms that director Zoë Kravitz has an artful eye and ear: Her debut feature is full of creative compositions, heightened sound design, and clever editing. However, where she excels in creating atmosphere and mood, she falls very short as a screenwriter.

Captain Marvel directors Anna Boden and Ryan Fleck's (sometimes very) fun anthology/love letter to Oakland, California doesn’t add enough of its own unique spirit to quite live up to its influences.

It’s nice to see June Squibb land a starring role for once, but her quest for revenge in this Sundance crowdpleaser is more cutesy than charming.

If you can look past Road House’s horrendous cinematography, CGI fights, and poor lighting, there's a fun movie to be found.