It's difficult not to fall in love with all of the characters in the film, and its breezy sense of humor makes Eternity a veritable crowdpleaser.

For the most part, the musical fires on all cylinders, so we're off to a good start.

It's a testament to the charisma on display, and the expertise with which they work, that they all can take center-stage and then step back and let someone else have a turn.

It features an excellent ensemble cast who bring tremendous heart to each of their cinematic segments, and represents Stephen King at his most sentimental and uncynical.

Transcending its gimmick status within its opening stretch and only growing more resonant from there, it becomes that rare horror film you could recommend to people who hate the genre — the set pieces are well constructed, but their impact pales next to a haunting, moving story about a dog and his owner. 

Furiosa: A Mad Max Saga is a good movie that has either the fortune or the misfortune of existing as a prequel to a nearly perfect movie.

Novocaine is packed full of inventive action set pieces that are alternately gruesome, goofy, and sometimes even both at once. It may not be for everyone, but it kind of feels like the gold standard for this very specific brand of action comedy.

The Running Man is such an enjoyable race while you're running it, but once you make it past the finish line and start reflecting on the experience, it leaves too much to be desired.

Doing double duty as both a romcom and a twisted body horror movie is a tonal challenge that "Together" pulls off successfully, in large part thanks to how fun it is.

Anchored by Diaz and Foxx's combined star power and a general sense of pleasantness that never fades, it's a solid little action-comedy with a bit of family fun at its core. The bad news, if you want to look at it that way, is that there's not much else there, leaving the film a hollow, though pleasant, experience.

Whether or not it proves a financial success, Bad Boys: Ride or Die is shocking in how effectively it pleases a crowd. It continues the work of "Bad Boys For Life," breathing new energy into a thirty year old franchise that, on paper, should have ran out of steam by now.

Taken on its own terms, Frankenstein is a compelling, at times moving, and utterly gorgeous epic. As a fan of both Del Toro and Shelley, I can't help but nitpick the details.

If you watched any of the set pieces in Havoc entirely divorced from their wider context, you might find them thrilling, if a little derivative. Within the film, however, they do very little to raise the blood pressure back up after extended detours in a generic crime conspiracy difficult to get invested in. He's still a talented action director, but this plays a little too safe for my liking.

Juror #2 is a meat and potatoes drama with a strong central premise, a great cast, and a runtime that doesn't overstay its welcome. It's exactly the kind of drama made for adults that has been jettisoned to television for the last 15 or so years.

The film is a gargantuan undertaking and its heights will reverberate through pop culture for the foreseeable future. But some of its bigger swings don't quite connect and suggest that it is possible for a movie to try to be too many things at once.

It wrestles with similar ideas as its source material, sure, but when push comes to shove, Watkins is more than happy to deliver all the violence and hysteria that's been bubbling underneath the surface the whole time.

It's at once a fun and crowd-pleasing picture in that classic's vein as well as an extrapolation of what worked so well in the last outing. 

Deadpool & Wolverine isn't the height of the MCU, but it is the height of the MCU right now, and for a franchise that's struggling at the moment, it's the shot in the arm that the MCU needs.

There was no chance of "The War of the Rohirrim" recapturing the magic of the Peter Jackson "Lord of the Rings" trilogy. But Hèra's defiance in the face of the despair her enemies want her to feel has something of the trilogy's inspirational quality.

Final Destination Bloodlines is a tremendous amount of fun, especially if you can see it in a theater (preferably with an audience willing to match its energy). I said that Final Destination offers no surprises, and yet this iteration of the concept is a pleasant one.

Despite its faults, it showcases how much sex scenes can be used to explore character beyond their mere ability to titillate (but don't worry, there's plenty of that as well).

If at times a little belabored. With an all-in performance from Benedict Cumberbatch and a unique visual style, "The Thing With Feathers" is an inescapably compelling drama — even if its concept is perhaps a bit more interesting than its execution.

All in all, though, this is a more than respectable remake of Lilo & Stitch.

On Swift Horses finally achieves the emotional resonance it's been aiming for just a few minutes before the credits.

The plot, like Dylan himself, seems to be meandering, and while it's an interesting parallel, the end result is a film that feels more than a little listless whenever someone's not singing.

Much of Materialists is almost aggressively unromantic, and while it's not without laughs, those are also darker and more uncomfortable than you'd expect.

It's a nice enough movie, and honestly it might just be the best possible version of a live-action adaptation of its source material. But if you're expecting anything more than an almost exact shot-for-shot remake, you may be disappointed.

The final result of "Wicked: For Good" falls between the best and worst case scenarios: some big worthwhile changes and additions show a smart adaptational instinct, but it's still less entertaining than "Part 1," marred by inconsistent plotting, lackluster humor, and fewer exceptional musical numbers. It's good enough, but I could be happier.