Drop is a tightly plotted and unpretentious thrill ride.

Tim Robinson’s first movie-star role is like an extended I Think You Should Leave sketch with fancier camera work and a guest appearance by Paul Rudd.

In The Accountant 2, Ben Affleck and Jon Bernthal return for a sentimental, politically charged, and surprisingly funny action sequel about brothers trying their best to connect.

Another Simple Favor takes its tongue-in-cheek momcore satire to new visual heights by moving the action to coastal Italy. All the best parts of the original are also present here, including Lively and Kendrick’s sparkling chemistry and killer costume design. Not every attempt to expand on the concept is successful, but as a piece of escapist entertainment it’s more clever than most.

Novocaine offers more depth than its gimmicky “man who feels no pain” premise may lead you to believe. This movie breathes new life into old ideas, with an original hero buoyed by the charm of Jack Quaid and a heroine who ably beats the damsel-in-distress allegations. Novocaine is smart, but not so self-aware that it’s likely to alienate anybody; sharp, but not without feeling.

Its story of three couples working at the same British agency turns all the right screws with impeccable timing, forcing its characters to examine the flaws in their relationships as its tale of state secrets gradually unravels.

Even the most ardent defender of Paul W.S. Anderson’s work might think In the Lost Lands is the kind of mess that proves the Resident Evil director’s detractors right. It’s not just a barely comprehensible failure on its own, but an adaptation that takes a character-based drama and turns it into an ugly action flick.

There’s no snap to the dialogue, no thrill to a majority of the action, and the other characters played by Cooper Hoffman and Lucy Liu (and their relationships to Dolinski) make no lasting impression.

Set during a single, legendary evening, Richard Linklater’s Broadway biopic unveils the life and anxieties of songwriter Lorenz Hart through rapid-fire conversations, led by an incredible Ethan Hawke.

I Heart Willie is an overcomplicated, underdelivered, and all-around disappointing public domain slasher that can’t even get rudimentary filmmaking techniques right.

In spite of all of its nail-biting close calls and harrowing footage from the actual rescue, it’s actually a lot of fun.

Jackie Chan has some fun playing himself in Panda Plan, but this family action movie falls flat.

A deeply depressing comedic experience (thanks at least in part to accidental political timing), Bong’s remix of Edward Ashton’s novel presents a Trump-like villain and no worthy heroes, resulting in a farcical sci-fi adventure whose symbolism makes up for its misshapen character drama.

Director Martin Campbell (Casino Royale, The Mask of Zorro) offers some reliably, well, clean hand-to-hand combat without showing us anything we haven’t seen before. Only a mid-film twist and the oddly sympathetic motives of the bad guys distinguish Cleaner from a thousand other movies with basically the same sturdy premise.

What Beat Takeshi’s mob comedy lacks in explosions, it more than makes up for in jokes that bomb.

While the movie's points are clear, they're also cliché – as is the movie's horror. The director's ambition exceeds his grasp, telling a story about characters who are not well-drawn enough to feel either universal or specific. The result is a fraught romance that should be nerve-wracking but instead is mostly dull.

Even when The Gorge disappears into generic run-and-shoot action, it benefits from the colorful confidence of Derrickson’s staging and a ’50s-inflected sci-fi score from Trent Reznor and Atticus Ross. At its worst, this solid genre exercise still looks worthy of the theatrical release Apple didn’t grant it.

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

Crackling comedy, a sizzling age-gap romance and a new kind of sincerity make Bridget Jones: Mad About the Boy second-best only to the original.

Doug Cockle’s return as Geralt of Rivia is a casting coup worth celebrating. Too bad the movie he stars in is so boilerplate.

But as a comedy, Love Hurts is pretty stale; when not trotting out dopey crime-flick caricatures, it’s simply leaning on the supposed hilarity of a sunny house hunter with a secret talent for breaking bones. You’ve seen many versions of this premise, and better ones, too.

An obvious codependency metaphor becomes a body-horror blast in Michael Shanks’ Together.

Benedict Cumberbatch gives it his all in The Thing with Feathers, but the horror movie lives up to neither his performance, nor its own heavy-handed metaphor of a bullying crow-creature representing grief.

The Monkey is one of the best horror-comedies (and Stephen King adaptations) in recent memory, exploding off the screen with both gory kills and big laughs.

OBEX is a lo-fi stunner of a video game movie, merging a deeper understanding of the way games work with playful and creative sequences that also pack a deeply emotional punch.

From the sincerity of the lead performances to the cartoonish gore offered by Werewolves Within director Josh Rubenn. There are much worse ways to spend Valentine’s Day than a genre cocktail for saps and gorehounds alike.

Isaiah Saxon’s adventure fairytale ends up unique and beautiful, much like the adorable animatronic foundling of its title.

Grafted makes a patchwork of its ideas but manages to be an entertaining, mindful, gore-saturated charge through social hell.