Queenpins works best when Kristen Bell and Kirby Howell-Baptiste are allowed to let their effortless chemistry be the focus. Their comedic instincts are pitch perfect as their naïve pursuit of trying to get ahead financially snowballs into a multi-national coupon-stealing scheme that they are entirely unprepared to navigate. But the fun fizzles with depressing side stories, and especially when Vince Vaughn and Paul Walter Hauser commandeer too much screen time with middling results.

Insidious: The Red Door is a satisfying conclusion to the Lambert family’s long nightmare journey into The Further, even if it starts to rely too heavily on jump scares by the end.

Willy's Wonderland is a no-frills splatterfest that, while straining to fill its runtime, finds mid-level chills and thrills thanks to Nic Cage bashing the hell out of weaponized pizza parlor characters. It's a shoestring slasher that gets the job done while also not fully rounding a few of the corners it teases.

Cherry is big on style and features a bouncy, pricey soundtrack but its examination of the grim reality behind the veteran/addiction cycle feels rather routine. Holland breaks down many barriers here, performance-wise, and delivers the goods as a fantastic surrogate for societal ills, but the movie is plodding and, overall, an underwhelming patchwork of previous projects.

Screamboat isn't a good movie, but it can be an entertaining experience if you only care about indulgently bloody kill sequences.

There's not much to marvel at in Netflix's Unicorn Store, Brie Larson's astounding misfire of a directorial debut.

The Marksman is perfectly watchable old man reckoning cinema, held together by good performances by Liam Neeson and young Jacob Perez, but it's ultimately not much more than an assembly line of non-surprises.

Kingsman: The Golden Circle is as cheeky, cartoonish, and crazy as its predecessor, but it’s also commendably unafraid to demolish what had come before it if it’s in service of the story. The new dynamic between Eggsy and his team is great, and the Statesman prove amusing counterparts to these gentlemen spies from across the pond.

The love story between Mark Wahlberg and Halle Berry works, or at least meagerly satisfies, on only surface levels, as does most of the movie.

Even as its ambitions are laudable in casting a wide net over a variety of societal ills, the film can’t quite muster the will to follow through on those ambitions and instead succumbs too often to cliche when complexity was required.

Despite its ultra-low-budget trappings, Hellboy: The Crooked Man is a fun, competent adaptation that offers up a healthy dose of Evil Dead-style supernatural action.

Pacific Rim Uprising is a loyal, if unremarkable, successor to the giddy original.

Heart of Stone is so busy trying to start a franchise that it forgets to be a movie good enough to merit a sequel in the first place.

Brightburn doesn't take its satire to any kind of satisfying extreme – although a mid-credits stinger does include a larger joke at work – but as a superhero murder thriller, it is perfectly entertaining.

The King’s Man’s triumphant action and epic performances are dragged down by a confused story and overlong runtime.

Despite a capable cast and crew, Foe is a muddled mess that feels more like Black Mirror Lite than powerful sci-fi commentary.

It would be great to see Peter Farrelly recapture the comedic magic he and his brother achieved in their terrific 1990s run, but he doesn’t do so with Ricky Stanicky. It’s focused on too many un-engaging characters with a lot of would-be comedic banter that falls flat, while the attempts to blend drama with humor feel out of place.

While sci-fi is generally rife with allegories, a steadier hand was needed here in Voyagers. The messaging, though noble and necessary, feels obvious to the point that it takes you out of the film. The cast is talented and the premise is promising, but the story plays out in a predictable fashion, which also works, in a way, to undercut the meaning.

On the heels of several other Dracula-based films in very recent memory, Luc Besson’s take on the story doesn't do enough to set itself apart, despite its fair share of weird comedic moments.

Men in Tights does work more often than not, even if the jokes are a little cheaper than normal.

The Old Guard 2 is a disappointing sequel that isn’t as fun or engaging as the first film and doesn’t do enough with its face off between Charlize Theron and Uma Thurman.

Resident Evil: Welcome to Raccoon City sticks admirably closely to its source material, but an overly stuffed story and rushed third act hold it back.

The Jesus Rolls, while a passion project for the writer/director/star -- though it's unclear what Turturro wanted to do more: remake Going Places or do a Jesus follow-up? -- comes off like a flat fever dream. The famous faces are fun and at times there's a wee bit of misfit charm, but in the end it's clumsy and churlish.

It may not be a flawless victory but the new Mortal Kombat movie is a fun time for fans of the game franchise.

Bloodshot is unapologetically a popcorn movie of the switch-off-your-brain-and-kick-back variety. Diesel and company soldier through a wonky plot to deliver glowers, superhero poses, and loads of action. Director Wilson brings the heat with solid visual effects and a relentless pace. But keen-eyed viewers will notice the telltale signs of "fix it in post" fiddling.

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.

Despite having an interesting take on werewolves, The Beast Within proves to be a middling experience.

Despite the good stuff, though, Hunter Killer doesn’t ever really justify its existence. Conceived in 2011, viewing it through any other lens than today’s political climate is impossible.