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.

While Wish is enjoyable, this new Disney fairytale doesn’t measure up to those that came before.

Like a human turned into a creature of the night, Salem’s Lot kicks off with a strong sense of identity that slowly gives way to mindless vampire nonsense.

Despite some terrific race sequences, which Corman shot beautifully, the film, itself, is just a total bore.

I walked out wondering how a mini-series might have better served this historic moment and the men who made it. Still, with all its gaps and flaws, Midway is a serviceable ode to servicemen this Veteran's Day weekend.

The film knows what it is, and lives in its ridiculous skin with an infectious, gleeful attitude. Unfortunately, The Hitman’s Bodyguard also doesn’t know when to say goodbye, and as a result, overstays it’s welcome.

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

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.

Overstuffed and wearisome, pulpy action comedy Boy Kills World proves that there can be too much of a good thing.

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

The Nun II is a marked improvement on its predecessor, as the winning duo of Taissa Farmiga and Jonas Bloquet reward the faith of Conjuring fans with a scarier, meatier boarding school nightmare that makes great use of Valak the Demon Nun, even if the mythology-heavy plot specifics get a little lost along the way.

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.