Maybe there's something I'm not getting here, but as far as I'm concerned, Die My Love comes alive in individual scenes yet feels stultifying as a whole.

The co-writer-slash-director's proximity to its real-life subjects means he can't put too much of an over-the-top Hollywood twist on the tale, but any intent to do justice to the reality of the story just left me wondering why he would want to tell it again if he weren't going to lean into the gloriously preposterous traits one would expect from the classic disaster movie.

While I wasn't left completely cold by Remarkably Bright Creatures, I found its tried-and-tested clichés far more enjoyable than its wilder idiosyncrasies.

It's perfectly serviceable, never less than watchable, but lacking in anything special that could live up to its twisty potential.

Shelter aims higher than typical Statham fare by taking itself more seriously, but in doing so, it misses the mark on what makes his best work so enjoyable in the first place.

It's not a terrible film, to be sure. At times it's even deeply entertaining, because Coen and Cooke clearly still have a certain sense of magic and charm in everything they do. But this dark crime comedy starring Margaret Qualley as a determined private eye is still lacking in a sense of real direction.

The problem is it can't find nearly enough to say to justify its 148 minute runtime, exhausting interest and failing to build its intriguing big ideas into a compelling story.

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.

Kraven the Hunter isn't a complete disappointment, but it isn't a great example of comic book cinema either. Instead it seems well-suited for our mid era of superheroes and everything else.

The meta-narrative of where The Smashing Machine fits into Johnson's career is more interesting than the film itself, which I found a bit of a bore. Johnson's performance is good enough, and Emily Blunt is truly transformative as Kerr's unstable wife Dawn Staples, but neither get that much to do beyond repeat the same sort of fights (physical or verbal) over the course of two hours in a film that fails to justify why we should be so interested.

Despite a cast of endearing key players, a couple of solid scares, and a story rooted in certain fears a lot of us can easily relate to, it's a film that spreads itself so thin that, by the end, the only thing it can really be is a mess.

What remains in question is how much this story constructed through hints, however well they can be understood, actually evokes feeling. To me, Carousel felt like it was missing something that could have made its quiet slice-of-life scenes a real emotional experience.

George Clooney and Brad Pitt have wonderful chemistry together, as always, and they make sense as two wily, slightly over-the-hill fixers, but Wolfs itself is relatively uninspired.

In trying to reinvent the lazy feline for modern kids, the filmmakers have lost track of the comedic tone that has helped these simple, gag-driven stories endure for decades.

To put it simply: it's just another Christmas flick with an artificial heart — if it even has one at all.

It's muddled in the extreme and few of its cast members make it out of the debacle unscathed, but its willful rejection of what audiences might want to see in favor of what Francis Ford Coppola wanted to make is so bold you almost have to admire it.

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.

We didn't need The Devil Wears Prada 2 ... and unfortunately, it shows. This might be a legacy sequel, but it feels like a bad knockoff; the "Channel" to the original's "Chanel."

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

It looks beautiful, and there are no weak links within the stacked ensemble, but it winds up feeling alarmingly empty.

It speeds through the plot beats so fast, in fact, that it never properly allows you to take part in the murder mystery guessing game for yourself, barely developing its characters beyond the one note they're introduced on, so the question of a motive becomes an irrelevance to anybody watching.

While DDL's acting genius gives the film some spark, those sparks are sapped by lethargic pacing and serious pretentiousness.

The Drama is a very well-crafted, never-boring dark comedy that is unfortunately completely broken at its core, handling a loaded premise in ways that are unbelievable at best and offensively tacky at worst.

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

As its clichéd and underwritten story progresses, however, it goes from mildly interesting to underwhelming to actively bad in the end. By the standards of a major release in competition for Halloween season screens with some of the best horror movies of 2025, it's a failure.

It's not a good movie, but it's not that bad for a streaming flick either. If you liked the first one, give this one a try. It won't give you the same warm and fuzzy feeling as the original, but you could do worse.

Director Renny Harlin does his best to maintain the same level of slow-burning dread as he pulled off in the prior film, but it ends up feeling like a mundane, fly on the wall account of the average day at the office for the two surviving killers.

Jeremy Allen White, Jeremy Strong, and especially Stephen Graham do their level best, but they're let down by a bafflingly inept script and unimaginative filmmaking from Scott Cooper.