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

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.

Although it falls apart slightly in the third act (a treat the director is unfortunately unable to shake here), a tense narrative and unsettling performance from Josh Hartnett makes Trap a delightful late summer thriller.

After the Hunt is a slog that wastes the talents of its stars on unlikeable characters in befuddling situations, rarely coming near a coherent plot point with any degree of competence.

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

As a fun way to kill 95 minutes with your family, "Despicable Me 4" is an unassailable success, even if anyone hoping for more than clearing that low bar may be left wanting.

You're Cordially Invited is good at what it does, even if you won't be thinking about it long after the credits roll. And if you do think of it, all you'll do is laugh.

Not a great movie, but "horror-comedy where unicorns kill rich people" is the sort of high concept that guarantees some level of entertainment, and excellent casting helps compensate for its weaknesses on the screenplay level.

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

Wolf Man delivers some impressive moments of slow-burn body horror but falls short compared to the narrative and thematic cohesion of its predecessor.

Yes, Gen Z absolutely deserves better than People We Meet on Vacation as their equivalent to When Harry Met Sally — but until a worthy successor comes along, this will make for a charming substitute.

Now You See Me: Now You Don't is pretty to look at, pretty dumb, and pretty freakin' fun.

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

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

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.

While its nods to the '90s are all painfully accurate, it seems like Mooney was so focused on capturing the essence of Y2K that he forgot that all of this needs to be in the service of a story that's actually engaging. Sorry to all involved, but 91 minutes has never felt so long.

Though it may sound like a fascinating sci-fi rumination on the intersection of technology and human life, "Ares" works best as a rollicking action picture with some strong visuals and incredible soundscapes. It lacks the acting acumen and depth of writing to achieve much more. 

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.

The question remains whether a "Mortal Kombat" movie could ever be expected to be better than this, considering the limitations of the source material. That this sequel translates the simple beat-em-up thrills of the video game into something narratively functional is about as triumphant as it could possibly get for this franchise.

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.

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.

It's a movie about the boundless imagination of children that could only have been made by a cynical adult mind, careful to restrict itself from attempting anything bold so it can algorithmically copy everything that has worked throughout decades of Amblin classics, albeit devoid of genuine heart or charm.

Shyamalan may have inherited her father's love of the twist ending, but the one she creates in "The Watchers" is as unearned and unsatisfying as they come.

This film is a slog to get through, and by the end you almost feel as though you yourself have been trapped in the hole for weeks.

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.

If nothing else, it's a true feat that a movie with this many writers and this tangled an editing process ultimately wound up as solid as it did. Yeah, a lot of the action set pieces are inconsistent and choppy. Much of the CG work is reliably cheap-looking and rushed. But in the end, they pulled together what could have been an embarrassing disaster into something entertaining and, at times anyway, inspired. 

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.

It's a singular thrill to see how deftly Hardy blends weird comedy, genuine pathos, and even pseudo-homoerotic undertones into the kind of performance that would win Oscars if it weren't housed within such a deeply unserious, commercial film product.