Eddington is a fascinating film whose high points are sure to grow in the public estimation with the distance of time, but whose murky themes and punishing runtime have more in common with advanced torture tactics than with traditional cinematic expression.

I Know What You Did Last Summer is a lazy retread of an already mediocre horror film, with only brief flashes of promise peppered between kills.

As an introduction to the rebooted DC Universe, "Superman" is zippy blockbuster fun. But amidst all its cartoon absurdity, it might just inspire people to make a difference in this universe.

Gareth Edwards does occasionally lean into the full-blooded horror potential of this material.

At the end of the day, the roar of the engines is loud enough to drown out any meaningful discussions about the intersection of commerce and art. For a movie about cars racing fast, it delivers.

M3GAN 2.0 is too tiring to sustain enough laughter for even an ironic recommendation.

28 Years Later is scary and touching and funny and brutal, and I loved every minute of it.

The result is a cute but uneven production that doesn't live up to its impressively imaginative concepts.

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.

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.

If you've found the previous live-action Predator movies (including Trachtenberg's own franchise-reviving "Prey") to be too heavy on plot at the expense of the carnage, then the brevity of this spin-off is exactly what you'll have been wanting, stripping down the formula to its barest essentials across three brief stories.

For someone enamored with the Wick-verse who just wants a new fix from that world, Ballerina is an unequivocal success. Ana de Armas holds her own as Eve Macarro, a dancer turned assassin trained by the same family that made John Wick such a violent threat.

When Karate Kid: Legends is allowed to be its own, stand-alone adventure, it's by far the most charming since the 1984 original.

For a director whose recent work output suggests he moves straight onto the next project the second he calls cut on the last, it's surprising how much of Fountain of Youth feels reshot in post.

Though its long string of wacky plot points might sound convoluted on paper, one shouldn't worry too much about it. The craziest details are mostly there for laughs, and the thematic and emotional through-lines that actually matter remain clear throughout.

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

With Robinson doing his thing and Paul Rudd's straight man delightfully off-kilter in his own way, Friendship is a chaotic ride from start to finish.

Bring Her Back genuinely disturbed me. You can decide whether that's reason to see it as soon as possible or reason to stay far away.

It aims to be a nostalgic send-off, but the execution is muddled, forgetting that nobody ever came to these movies for the plot so much as the spectacle its amateur stuntman star provided in droves.

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.

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.

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.

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. 

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.

The lack of character development blunts any potential for the deeper emotional impact found in the best war movies. The lack of political contextualization further limits how much the film is really capable of saying.

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

It doesn't matter how regressive or repetitive these flicks are. They scratch a necessary itch.

At least half this film — especially the clash between the Evil Queen and Snow White — is enjoyable enough.