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.

It might not be Oscar-caliber cinema, and hardcore fans of the game with encyclopedic knowledge of the game may have a bone to pick, but it’s big and loud and gruesome and not afraid to have fun. The bar for video game movie sequels isn’t very high, but this one not only clears the bar, it twirls it around like a bo staff.

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.

It can’t decide whether it wants to tell the real-life story of respected mob boss Frank Costello and his comrade-turned-scheming-enemy Vito Genovese, or if it wants to skewer the entire genre of films they helped inspire. However, with Robert De Niro in both leading roles, there’s always something interesting to watch, even if it’s buried by mountains of repetitive dialogue.

Gunpowder Milkshake does its formidable cast dirty with a bland script, recycled story, and an empty comic book style that does little but shine up a stale outing.

Zemeckis turns this beloved, dark story into a campy, weird, yet still fairly entertaining kid-friendly story of accepting oneself. The problem is that it pales in comparison to what came before.

Kate is a bland and unoriginal action movie that fails to make us care about its title character.

Shazam! Fury of the Gods may not pull the heartstrings like its predecessor, but there’s no shortage of the chaotic good humor and energetic performances that put Billy Batson and the Shazamily on the map.

Until Dawn is more disappointing than deadly, leaving all the promise of the horror game behind for a jumble of horror-movie re-creations.

It's a by-the-numbers variation on "The Monkey's Paw" coupled with a revenge flick. What makes the film worth seeing is not the story, the production values, or even the work of a truly underappreciated character actors like Henrickson. It's an eight foot tall demon ripping people to spare parts.

The words "overblown" and "pompous" often came to mind. At other times, though, everything comes together-- music, images, and theme-- to really make a stoner go "whooooah."

History of the World: Part I might not be the best effort from Brooks, but it still remains one of his crowning jewels – a testament to bravado irreverent humor and biting wit.

There are a couple of entertaining action sequences, including the climactic battle between the cop and the Predator. The special effects, all shot on film, and the makeup effects, are top-notch for the time they appeared, so as a historical record the movie is interesting. But it just doesn't have enough meat to sate a hungry hunter.

Wrong Turn delivers a handful of timely twists and coats the franchise with a new, and vastly more interesting, sheen. It stumbles at times to balance all the themes it's trying to handle with regards to societal ills, individual value, and self-determinism but the end result is still a warped ride that could set up more thrills to come.

It’s neither funny nor exciting enough to obscure what a miasma of unfocused randomness it is, even though the cast is clearly trying to make something out of all this half-baked material.

The movie plays up sexual innuendo more than a group of junior high school kids, and it comes across almost as juvenile. Some of the jokes are indeed funny, but there aren't enough laughs to propel things through the dry spells.

The Super Mario Bros. Movie is a fireball of animated fantasy. Mario, Luigi, and Peach’s adventure delights with its infectious energy and smart implementations of video game callbacks, and the top-shelf animation renders the Mushroom Kingdom as an Oz-like wonderland that begs to be explored in the inevitable sequels that will follow.

Sweet Girl is front-loaded with fun action, and it has a great performance by Jason Momoa as a widower seeking vengeance against a pharma CEO. But its story slowly loses steam, before being replaced by an entirely different movie with much sillier political messaging.

Frighteningly funny and fresh, this hilarious animated treat will introduce a whole new generation to the loving and strange family whilst also pleasing those who grew up with the iconic '90s movies. With a sweet story, tight runtime, and impressive animation, this is the perfect Halloween treat for film fans young and old!

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

This journey from sun-soaked beaches to chilly English country, from heart-racing flirtation to soul-shattering stress, from new love to old regrets, feels dry and flaccid. Much like Mrs. de Winter, the long shadow of Hitchcock's Rebecca proves just too powerful to ignore.