Watching the film now, it seems like a bit of an anachronism. The story may be set in 1789, but the style and tone of the film is pure 1962. They simply don't make films like this anymore.

If you've ever watched a Saw movie and wished there was no gore and a few more puzzles to solve then you'll likely enjoy this tropey but fun flick.

Tomb Raider fails to develop interesting characters or motives but at least offers viewers some fun action.

Child's Play is a passable but plain remake that's saved by a blisteringly bonkers third act.

Noelle is often lifted up and out of a full rut by Anna Kendrick's energetic and gallantly goofy turn as the North Pole's most deserving and capable Kringle. Without her, Noelle is average fare, rehashing a lot of timeworn cliches from other, more clever, festive films.

Benedict Cumberbatch gives it his all in The Thing with Feathers, but the horror movie lives up to neither his performance, nor its own heavy-handed metaphor of a bullying crow-creature representing grief.

The cast is wasted in such lame roles, and the horror story’s uncertain tone falls far short of intriguing. So, despite one supremely frightening moment, this movie is not scary. It just stinks.

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.

Tolkien may disappoint fans looking for a LOTR origin but will please those who like stories of art, love & friendship.

The Retaliators tries to transform musical stardom into a rock n’ roll horror epic, but suffers from “too many cooks” syndrome as the end product plays disjointed and can feel like a music video demo reel.

Ant-Man and the Wasp: Quantumania has just enough heart, humor, and excellent performances to make up for its more underdeveloped aspects.

I really like the sequel. No, I'll go one step further – I love the sequel. It's missing some major players, both in front and behind the camera. But really, Airplane II has some seriously funny gags.

Bad CGI takes away everything real about the relationship between man and dog in this inherently flawed, technically focused adaptation of Jack London’s age-old classic. Not even Harrison Ford, charming as he may be, can rescue this cynically made film from emotional bankruptcy.

As heartwarming as the story in Leap! can sometimes be, and as strong as the relationship is between Félicie and Odette, her actions can make it difficult to cheer for her as wholeheartedly as the film intends.

Spirit Halloween dodges the bargain bin by opening its doors to a proficient gateway horror tale that plays like Goosebumps Lite in a seasonal decoration store.

Rememory somehow managed to attract Peter Dinklage, Julia Ormond, and other established performers, and yet it completely lets them down.

The Last Mercenary has bounding energy and a fun take on star Jean-Claude Van Damme's past exploits as an action star, but the humor is way more miss than hit and the actual nuts-and-bolts spy plot is a trudge.

The action is thrilling and the science fiction stuff compelling, but there are several occasions where it feels like the screenplay is talking down to its audience, most notably during its heavy-handed climax.

Skillfully made, spooky, stylish, and featuring some quite good character work, The Strangers: Prey at Night stands much taller than the 2008 original. The central killers are plenty scary, and some of the images on display would make John Carpenter proud.

A fun exercise in giant monster madness that indulges in all the kaiju fights fans and even casual viewers could hope for. It looks amazing while also giving its human characters a chance to stay interesting amid all the battling beasties by providing them with some really cool tech -- and some great one-liners among the supporting players. Unfortunately, the film’s plot is needlessly confusing, and not all that smart at times, and the lead characters could’ve used a little more fleshing out.

A soulful ghost story that does an unexpectedly solid job speaking to younger audiences about the afterlife, nailing the film’s appropriately spooky gateway-horror ambitions.

As ugly as it is amusing, Lee Cronin’s The Mummy takes the kind of tonal swings you rarely see from a Hollywood studio.

Sonic’s first foray into live-action is a fast-paced joyride that’ll ring in entertainment for both fans and children.

It looks drab and feels like it was made by people who want to leave its magical premise behind, even though the series refuses to have anything resembling grown-up politics or perspectives.

Harmony Korine’s infrared assassin movie Aggro Dr1ft is a video-game-inspired experiment that’ll have you in a trance.

Monster Hunter runs just over an hour and a half but feels about twice that long thanks to its listless, meandering plot devoid of a central focus or any meaningful world-building.

Not as memorable as the ’80s and ’90s high-school romps and creepshows it pays tribute to, there's still lots of gory fun to be had with director Zelda Williams’ feature-length debut thanks to Newton's electric lead and the sparks she throws off opposite Cole Sprouse’s game portrayal of a reanimated corpse.

There are some memorable kills and reverence for the franchise at large, but it stumbles as it brings it to a close.