The psychological thriller-horror film Antebellum mishandles its sensitive & painful subject matter on multiple levels.

The Girl in the Spider’s Web has essentially refashioned Lisbeth Salander into a superhero.

Impressive visuals and a very watchable cast make this a fun popcorn fantasy flick that's at its best when it leans into its genre roots and aims to create a truly fantastical fairytale world.

Despite a starry cast and endearing performance from Joey King, A Family Affair is as messy as the conflicting professional and personal relationships it depicts. A convoluted and superficial script and yawning direction fail to deliver character stakes worth getting behind.

Night School is a familiar comedy with heart that (barely) makes the grade.

Outside of viewing the film as a child or with a group of pals on drunken Saturday night, watching a bunch of loosely stringed sequences of Killer Klowns attacking townsfolk only gets you so far. It's a fun picture. But nothing more.

The Strangers: Chapter 1 might freak you out if you aren’t old enough to remember The Strangers, but where its predecessor was subtle and interesting, Renny Harlin’s reboot chooses to be ridiculous and boring.

As a whole the film was funny, but the lack of a living lead, led Trail to being more about the editing than the story.

Where The Crawdads Sing is only mildly interesting if you look up the accusations against its author.

Roger Moore's second outing as 007 does not do the subject matter justice. Or the character. Or any paying member of the audience.

Blood Red Sky could lose a few minutes, but overall, it's a ferocious and fun merging of vampires and hijackers.

For a movie about a guy trying to save himself and his kids from a car that might blow up at any moment, it's curiously low on thrills and complications.

Mother/Android tries to bring an emotional heart to the robot uprising genre, but it’s so laden with tropes and short on personality that it’s hard to care about the characters. What little novelty exists comes far too late in the long, slow movie.

Dark Phoenix is ultimately yet another fumbled take on the classic saga from the Marvel Comics, albeit one without the side plots of The Last Stand. Add to it a jarringly uneven latter half and some underdeveloped cosmic villains, and Dark Phoenix is fortunate to have not fully ended the X-Men’s current big screen run on a completely down note.

The New Mutants didn’t deserve to be locked away for years. It’s not some unwatchable mess but rather a perfectly fine, entertaining, if at times formulaic small-scale genre movie.

What’s frustrating is that with better lead performers and a tighter script, Wingard could have made a great adaptation. Instead it settles when it should have soared.

There are hints of greatness, but Glass is tonally confused and will likely disappoint fans of Unbreakable and Split.

Anaconda is a disappointing follow-up for Gormican, who cannot crack the code on Sony's bewildering aquatic not-really-horror reboot. A cast of proven funny people are lost in a thick brush of hacky bits and ineffective storytelling, unable to machete their way through to a redeeming climax. There are brief bursts of creature-feature excitement and belly-tickling humor, but way more stretches of bafflingly unclear ambitions that feel like they're struggling to keep the "movie within a movie" gimmick afloat. It's Anaconda without the aqua-horror chills, throwback practical effects, and midnight-movie entertainment—what an odd choice.

The earnest and entertaining Scoob! is a perfectly fine distraction for kids and parents stuck at home, with enough cute and amusing elements throughout to keep viewers engaged.

Stuber is an awkward, uneven action-comedy that never realizes its full potential. It squanders a good premise and an odd couple pairing with potential that could have delivered something special.

Despite a great cast, Needle in a Timestack lets the fuzzy logic time travel tropes trample the characters and our care for them and their plights.

There’s a fun slasher buried beneath the too-faithful reboot plot of the new I Know What You Did Last Summer. Unfortunately, it’s overshadowed by too many callbacks to the first movie in the series and too little originality. The mix of new stars and returning favorites provides some urgency, but does little to give it an identity all its own.

Transformers: Rise of the Beasts proves that the Transformers franchise is accelerating in the right direction, delivering solid Autobots action and a solid voice cast behind the infamous robots in disguise.

The cast does the best they can to save the weak material, and it’s interesting to see how the filmmakers are trying to make this off-putting concept work. But it's not funny enough, or even weird enough, to get away with it.

When Aquaman and the Lost Kingdom is being an Aquaman story and leaning into the silliness and family aspects of it all, it’s fun. The enjoyable bits are just sandwiched between some ugly effects and a weird first act that feel cobbled together from a very different movie.

Swiped is constructed well-enough for the movie it’s trying to be, but its lack of ambition and nuance keep it from being its best self. It can still be a worthwhile enough watch for Lily James’ admirable performance as Whitney Wolfe, but the movie never affords its subject the same level of depth as what James tries to imbue her with.

Captain America: Brave New World feels neither brave, nor all that new.

Although Holland takes place in a unique setting full of kitschy Midwestern details, even Nicole Kidman in frustrated-housewife mode can’t sustain the sloppily plotted thriller.