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.

With impressive animation and a faithful script, Watchmen Chapter 1 is clearly a labor of love. But while it avoids some of the pitfalls of prior adaptations, it also reveals a few of its own.

Though Skincare’s script lacks bite or balance, Elizabeth Banks gives a riveting lead performance with assistance from Lewis Pullman as her sketchy sidekick.

Alien: Romulus’s back-to-basics approach to blockbuster horror boils everything fans love about the tonally-fluid franchise into one brutal, nerve-wracking experience.

While it sometimes leans too heavily on its ickier aspects, Cuckoo has just enough sense of its own absurdity to remain disgustingly fun.

This buddy comedy lives or dies on your affection for its stars, offering complementary shades of good-natured Bostonian ineptitude.

Borderlands is an abysmal waste of a beloved franchise that takes a kooky band of murderous misfits and drains the life out of their first adventure together. Eli Roth is no James Gunn, and this film has none of the lovable lunatics, awe-striking sci-fi visuals, and out-of-this-world storytelling of Gunn’s Guardians of the Galaxy trilogy.

Thanks to slick screenwriting, stylish art direction, and a sparkling lead performance from Blake Lively, It Ends with Us tackles difficult subject matter with maturity, tenderness, and just a dash of whimsy.

Dìdi is a chaotic crowd-pleaser that effectively represents the messy process of finding oneself in the midst of adolescence.

Josh Hartnett anchors Trap with a great performance as a serial killer penned in at a pop concert, but M. Night Shyamalan’s latest film falls apart in its third act.

It’s a self-consciously juvenile pizza party of a movie that's lots of fun if you don’t take it too seriously.

The combination of gore and complex characterization can be uneven from scene to scene, but the filmmakers’ unique qualities and perspectives give it more personality than your average low-budget creature feature.

“Random” aptly summarizes Harold and the Purple Crayon, with its patchy subplots, distracting amount of dialogue added after filming was wrapped, and geographic cluelessness.

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

There's an endearing, homestyle warmth to the kooky sci-fi dramedy. Think Joe Swanberg's "Mumblecore" roots by way of Charles Band's late-night horror schlockiness – and I mean that with love.

Starve Acre is a rousing addition to the British folk horror tradition with intensely emotional lead performances that takes viewers on a nostalgic journey into pagan ritual.

The setup of the mystery is more satisfying than its payoff, and the film breaks down into an uninspired grab bag of contemporary horror influences.

Deadpool & Wolverine is an outrageous, consistently funny superhero comedy that succeeds largely thanks to the contagious enthusiasm of leads Ryan Reynolds and Hugh Jackman, and a surprisingly classy perspective on superhero movie history. Wade and Logan’s profanity-laced adventure forces the MCU farther out of its comfort zone than it’s been in years, even though old and increasingly frustrating issues like forgettable villains and a barely there plot show that breaking the fourth wall isn’t always enough to solve a movie’s foundational problems.

Oddity is an elegantly constructed tale of supernatural revenge that’s full of spine-tingling atmosphere.

Crisis on Infinite Earths Part Three closes out DC's Tomorrowverse in big, messy, and forgettable fashion, so much so that it's tough to be enthused about whatever comes next.

With scenes of natural disaster grounded in a human point of view, Lee Isaac Chung's spiritual sequel transcends its visual shortcomings, and proves to be a wildly fun and effective summer blockbuster worth watching on the biggest and loudest screen.

My Spy: The Eternal City is tailor-made for an awkward family movie night: too violent and suggestive for elementary schoolers, too dumb for teenagers, and too confusingly joke-free for adults expecting a comedy.

Sing Sing gathers a collection of heartfelt, nuanced performances in an unmissable drama about the life-altering effects of a real-life rehabilitation-through-theater program at the titular prison.

The subplot involving the production of a simulated, backup lunar expedition never quite takes off, comedically speaking, but there’s plenty of appeal in pairing an uncommonly bubbly Scarlett Johansson with an agreeably earnest Channing Tatum.

With a tone consistent with the original trilogy, a straightforward premise that creates space for fresh faces without disrespecting the main character, and a well-paced mix of comedy, action, and silky smooth synth riffs, Beverly Hills Cop: Axel F is a highly watchable return to form for Eddie Murphy.

The Day the Earth Blew Up: A Looney Tunes Movie is a looney good time, and a grand return to the big screen for the classic characters.

Visually lush and emotionally affecting, Janet Planet marks playwright Annie Baker’s bold transition to the big screen.

Blue Lock: Episode Nagi improves upon the first season's story by retelling the it from a fresh perspective – adding new dimensions to a fan favorite character in the process.