I'll admit to enjoying spending a little more time with these characters, but this new adventure doesn't feel significant, and its best elements are just rehashes of things that have gone before.

Ultimately, Disclosure Day won't go down among Spielberg's greatest or best-remembered films, although ufologists may disagree. There are just too many basic flaws. However, I appreciate its scope and ambition, and it does enough to represent solid, blockbuster-level entertainment.

Masters of the Universe inhabits a gray zone where it's not quite humorous enough to be dismissed as a parody and enjoyed on that level, but it's also not strong enough to be viewed as some kind of epic fantasy.

[Parsons] is not so much a conventional storyteller as a director who establishes a mood and sets the viewer adrift in a sea of moments. The experience can be frustrating, but it's also rewarding. And that alone allows it to stand out in the current "play it safe" era of big-screen entertainment.

Pressure succeeds as a solid example of historical dramatization; the core circumstances, events, and figures are real, even if many interpersonal details have been invented. The result is engrossing, although the film is not likely to be remembered alongside the great movies about the war in Europe.

Imperfect but sometimes dazzling, I Love Boosters offers something in depressingly short supply in theaters these days: a fresh, imaginative vision driven more by creative impulses than the quest for big box-office dollars.

It's far from unwatchable and offers moments of enjoyability (I liked the high-energy prologue), but the film as a whole seems more disposable than the usual summer spectacle.

The result is a film that runs far too long and rarely generates enough tension or genuine horror to justify its runtime—or, indeed, its very existence.

As counter-programming to the early summer season's blockbusters, this delivers better than a lot of the more expensive titles against which it is competing. It serves as a potent reminder that a well-crafted atmosphere and a singular, focused vision can be far more terrifying than a hundred million dollars' worth of digital effects.

Mortal Kombat II falls victim to the same problems that have derailed many a game-to-movie translation: overemphasizing fan service and spectacle over a solid narrative.

The Devil Wears Prada 2 is harmless enough, although it exists more as an afterthought than a legitimate continuation of a story that was fully told twenty years ago after the first 105 minutes.

When compared to the recent influx of musical biopics, this one sits somewhere in the middle; there is too little depth to elevate it to the top, but the soundtrack is too strong to let it sink to the bottom.

The obligatory concluding remark for a horror movie about the undead applies here: the best approach is to leave it buried.

In terms of checking off the genre’s requisite boxes, You, Me & Tuscany does just enough to earn a passing grade for rom-com devotees who prioritize "vibes" over cinematic standards.

While I admired the lead performances, the journey of The Drama remains unfulfilling. When I see a movie like this, I want to connect with the characters and believe their circumstances. I got some of the former but practically none of the latter.

If the idea of spending 90 minutes in a movie theater seeing gorgeously rendered versions of a hugely popular gaming world and its characters going through the motions appeals to you, then The Super Mario Galaxy Movie will scratch the itch.

This has "future cult film" written all over it. But, for those who are more concerned about the here and now, this is a film that delivers on its own peculiar brand of delights before wearing out its welcome.

There are far worse horror sequels clogging up the streaming services, and Ready or Not 2: Here I Come at least occasionally delivers on the promised gore and dark humor. Still, for those who just want to see Samara Weaving go scorched-earth on some devil-worshippers one more time, there are enough viscera and sharp objects to provide a passing entertainment.

Project Hail Mary is more about the wonder of the unknown and the satisfaction of finding new friends.

Ultimately, The Bride! has "cult classic" written all over it. It possesses very little mainstream appeal—it is simply too weird and outlandish for the average moviegoer—but there are enough flashes of brilliance to fascinate a niche audience in years to come.

There is a sense of formulaic efficiency here that provides entertainment without soul-stirring depth.

There’s only so far you can take a slasher series without doing something truly off-the-wall. Since the studio refused to attempt a radical refit, we’re left with this: a franchise-charring dumpster fire.

Looking back at Psycho Killer as a whole, the missteps in the final 20–30 minutes easily overwhelm some of the earlier, better material. It's tough to recommend this even as a streaming time-waster.

If the mandate for any new interpretation is to offer something fresh, one is left wondering what this version claims as its justification for taking up over two hours of our time.

While the climax does not lack for action, the overall resolution feels flaccid and undercooked.

Solo Mio is pretty much what one could reasonably expect from a Kevin James romantic movie: genial, good-natured, and ultimately pretty bland.

If the legend of Dracula has become tired through overuse, there is certainly nothing in this iteration to grant the old Count a new lease on life.

For action fans, Shelter scratches an itch, even if it’s destined to be little more than a passing distraction.

Send Help makes for an interesting counterpoint to Swept Away; the similarities are too frequent to be coincidental. Yet, where the Wertmüller film openly courted controversy for its misogynistic elements, Send Help is a more straightforward, crowd-pleasing endeavor.

At best, this is a late-night time-waster to be watched on Prime Video when all better options have been exhausted.

The Bone Temple doesn't work entirely well as a stand-alone, but as part of a larger whole, it is a very good continuation of the ongoing tale. It leaves me hoping for a successful box office run so we can see how the whole thing ends.

The film captures a specific fissure in American history, where the ancient, superstitious wilderness was beginning to yield to the steam and steel of the industrial age.

It doesn’t feel fresh, but neither is it stale. Despite the very modern setting, the throwback elements are by far the most welcome aspects being offered, proving that sometimes, sticking to the basics is the smartest move a director can make.

Delivered with dashes of black comedy, thriller elements, and pathos, this film illustrates how even a seemingly decent, hard-working man can be driven to unthinkable lengths in pursuit of a job that's to die for… or, more appropriately, to kill for.

Made well, this sort of material has the potential for a deliciously lurid two hours. But Feig's lack of aptitude with the material results in a cheap and artificial product, never really drawing the viewer into its web and spinning an overlong yarn that fails to embrace an identity.

Marty Supreme is a flawed beast—occasionally irritating, sometimes shallow, and undeniably exhausting. But that exhaustion is the point. Safdie drags the audience through the wringer not to punish us, but to make the final release that much sweeter. Driven by Chalamet’s fearless performance and a directorial style that refuses to blink, the film leaves an impression.

Sentimental Value offers a powerful story about fathers and daughters, roads not taken, the thirst for redemption, and the path toward reconciliation.

Song Sung Blue is a good story—heartwarming, uplifting, tear-jerking, and chock full of a beautiful noise.

Alex is certainly worth spending a couple of hours with, even if the slow pace is better modulated for a night in than a night out.

This is as good as spectacle moviemaking gets: old-fashioned in intention but fully modern in execution. It may not stand quite as high as its two predecessors, but the fall-off is neither extreme nor precipitous.

For fans of the genre, Wake Up Dead Man delivers exactly what they have come to expect: a sharp, stylish puzzle box that is a joy to unlock.

With its curious fusion of tear-jerking drama and fish-out-of-water humor, Rental Family is indeed a strange brew—one of those films that sounds slightly ridiculous in synopsis but blossoms into something unexpectedly tender when experienced moment-to-moment.

It’s a seamless continuation of the stories and relationships introduced in Zootopia, moving things forward without making any radical changes to the underlying formula—and that consistency may be exactly what audiences want from a return trip to this animated menagerie.

It’s quirky, a little unpredictable, and never feels like warmed-over leftovers. There’s a bite to things – an edginess that doesn’t cut too deeply but keeps the sentimentality in check. One of the year’s most pleasant surprises.

Although not as good as the first Sisu—which made my 2022 Top 10 and has since become a cult favorite—Road to Revenge is a worthy follow-up.

Hamnet ultimately feels like the sort of mid-budget literary drama that used to be commonplace from the late 1980s through the early 2000s but has since become rare. It proves a better fit for Zhao than the blockbuster ambitions of Eternals: the intimate scale and emotional concentration suit her strengths.

Suffice it to say that those who love the play will sit enraptured through Wicked for Good and not think it’s a minute too long. Those without the same depth of connection may leave wishing Chu had hired a less generous editor and made better use of his pruning shears.

Although I didn’t find the film particularly noteworthy, I enjoyed visiting Paris in the late 1950s and appreciated the behind-the-scenes tour. Like many hangout films, it’s simply enjoyable to spend time with the characters, even if nothing momentous occurs (depending on one’s definition of whether the making of a classic movie qualifies as “momentous”).

The entire affair is so badly bungled that there isn’t even a briefly satisfying moment of catharsis. The obvious next act for these Horsemen is to vanish—and never come back.

Given some of the dubious decisions made in crafting the 1987 film, there was ample opportunity to make vast improvements. Unfortunately, this Running Man fails to take advantage and, while stumbling on approach to the finish line, it trips and falls in the final moments.

Del Toro's filmmaking instincts are solid and he makes this an engaging 150-minute journey, but when it was over, I never felt I had truly explored something fresh, and that was a mild disappointment.

When the story moves into the 2000s, Christy finds its true identity—not as a tale of athletic triumph but as a portrait of endurance and survival. It’s messy, painful, and deeply human, which makes it far more compelling than the average true-life sports drama.

The film lingers, not because it’s enjoyable, but because it refuses to let go. It’s the sort of movie you admire for its daring and endurance but would never want to watch a second time.

The decision to partially reinvent what a Predator movie can be is what makes Badlands work. While it leans on familiar sci-fi tropes and doesn’t exactly revolutionize the genre, it feels fresher than the other sequels and far less beholden to the original.

There are moments of brilliance, but overall this is a bit of a chore—and the ending renders the whole enterprise kind of pointless. Of the director’s six English-language films, this is his biggest misstep and the one I’ve liked the least.

Deliver Me from Nowhere wants to be profound, but it mostly feels like it’s still searching for a chorus.

Taut, relentless, and uncompromising, A House of Dynamite’s greatest strength is its sense of plausibility.

In truth, this feels more like a half-baked comedy sketch stretched far beyond its breaking point—until even the last traces of humor have leaked out like the gooey innards of a Stretch Armstrong toy that’s been tortured by a sadistic kid.

The Black Phone 2 stands as a strong companion piece to the original—firmly rooted in horror, maintaining continuity, yet not shackled by the tropes its predecessor embraced.

There’s enough suspense to keep an itchy trigger finger from changing the channel but viewers hoping for more won’t find it here.

The movie makes a variety of changes to Jeffrey’s story to make it more cinematic, but without the kind of narrative reworking needed to streamline the material, the result feels unfocused and shapeless.

Tron: Ares is fan service at its finest: a bold, brash spectacle that can’t get enough of its Easter eggs and callbacks. But there are two problems with this approach: it can be alienating for those outside the inner circle, and it prioritizes sensory overload over storytelling.

It’s rich material, but despite having one of the greatest actors of his generation at his disposal, Ronan manages to fumble it—delivering a film that functions more as a sleep aid than a drama.

The film, anchored by a towering performance from Dwayne “The Rock” Johnson as Mark Kerr, is at once a sports drama, an addiction-and-recovery story, a tale of toxic romantic love, and an ode to male friendship. Unfortunately, it doesn’t fully succeed as any of these, because with so many elements competing, none has the room to truly emerge.

Destined to be counted among 2025’s best, One Battle After Another is proof that September isn’t always the cinematic wasteland it’s often made out to be.

Kogonada's direction crafts a variety of visually arresting—though not ostentatious—set pieces. Yet somehow, it doesn’t all come together. The whimsical magic evident early on grows stale. The movie’s tone is herky-jerky and never settles. And the ending feels undercooked and unearned.

Like Nicolas Winding Refn with The Neon Demon, Tipping approaches it all with deadly seriousness, convinced he’s delivering a profound statement when in reality he’s just serving up an overwrought, futile mess.

Despite a number of narrative holes, The Long Walk succeeds largely on the strength of its performances.

While the film does deliver a few solid laughs (though none that truly hit an 11), it ultimately falls flat, feeling less like a theatrical mockumentary and more like an overlong streaming special.

While there is some appeal in exploring how these characters might navigate the Depression and the approach of the Second World War, such arcs could never be properly developed within the confines of a feature film. The Grand Finale should be what its title promises: an elegant farewell.

Despite being drenched in atmosphere, Last Rites can’t conjure enough genuine scares to fend off the creeping sense of boredom.

Caught Stealing gives [Aronofsky] the right canvas, and he delivers with enough style to lift the film above the B-movie neo-noir roots of its screenplay.

Roach and screenwriter Tony McNamara sought a different perspective for the material. The result is more dramatic, less over-the-top, and proves to be tonally uneven. The humor is muted and less overtly vicious, but the more serious approach doesn’t quite succeed.

Howard stages several powerful sequences, including a harrowing childbirth scene, but the film falters in its final act, losing focus and stumbling toward an anticlimactic conclusion.

Because it thumbs its nose at the puritanical morality of contemporary mainstream cinema, Honey Don't! feels destined for cult appreciation rather than broad appeal. It’s a diverting curiosity—something to tide us over while we wait for Joel and Ethan Coen to reunite.

It’s an okay movie if all you want is an everyman dad doing superhero-ish things while getting beaten up along the way, but it’s neither as wildly entertaining nor as exhilarating as its predecessor.

This movie is built to be consumed, forgotten, and replaced — a product, not an experience.

Weapons is a step up for writer/director Zach Cregger from his promising horror debut, Barbarian – funnier, more unsettling, and ultimately more satisfying when taken as a whole.

As documentary biographies go, it's workmanlike but conventional – a solid effort and worthwhile investment of time though by no means a transformative or perspective-shifting film.

Though there are some narrative hiccups, its emotional core elevates it beyond mere cringeworthy gore.

This is a fun, funny trifle that deserves to be enjoyed on its own terms – a throwback that only feels old when that serves its purposes.

There's enough in the film to assemble an intriguing two-minute trailer. Unfortunately, the movie has an additional 92 minutes to fill and that's not something it's able to do with much success. The problems with Oh, Hi! relate not to its conception but its execution.

As a means to finally bring the Fantastic Four into the MCU, First Steps is as successful in its own way as Spider-Man: Homecoming was. In addition to representing an apology for the previous big-screen botching of Galactus, the film puts all the foundational pieces into place.

Unfortunately, for all its button-pushing, the movie's biggest offense is that it is often tedious and meandering and it takes at least 30 minutes too long to cross the finish line.

Robinson's movie flip-flops back and forth between being inept and goofy.

In 2025, Superman feels a lot like many of the other superhero movies out there - fun, frisky, and forgettable.

With impeccable period details, top-notch performances, and the text of one of the 20th century’s most lauded plays, The Piano Lesson represents one of Netflix’s stronger unsung late-2024 drops.

It’s past time to let the dinosaurs take a nice, long vacation. That way, when they come back, maybe we can once again be excited about them. “Excitement” is not something Rebirth delivers with relish or consistency.

We’re here for the nasty kills, the clever eviscerations, and the M3GAN vs. AMELIA rumble. And we get very little of any of those things.

The effectiveness of the film’s overall aesthetic cannot be understated: what F1 lacks in narrative development it more than compensates for with its thrill-ride aspects. Watching the film, you may not believe you’re in a racing car but you will feel like you’re doing more than passively sitting in a theater seat.

It’s a reasonable way to get out of the heat for a few hours and give your kid a treat but don’t expect to get as much out of it as you would if you were part of the under-10 crowd.

It’s a step up from 28 Weeks Later but it remains to be seen whether Nia DaCosta is able to bring this chapter across the finish line.

I found Materialists to be overlong but not unpleasant but there’s a lack of balance in the way the secondary characters and side-plots are more engaging than the bland central romantic triangle.

Watching The Life of Chuck, I was inspired to remember how wonderful it can be to find a movie that offers the thrill of discovery and the comfort of real emotions. That’s such a rare combination these days and when a film unlocks the secret, it deserves to be seen and lauded for the accomplishment.

How to Train Your Dragon represents solid family entertainment even if it feels like it’s tracing over an existing pattern rather than developing something new.

For those who enjoy Anderson’s patented quirkiness, The Phoenician Scheme doesn’t disappoint. Assembled with the abettance of longtime friend and collaborator Roman Coppola, Anderson has almost completely dispensed with a conventional storyline in service of a movie that delights in parodying seemingly anything and everything.

The concept of expanding the John Wick “world” by adding a worthy female counterpoint isn’t an inherently bad idea. The flaw is in the execution.

Jane Austen Wrecked My Life is too low-key for its own good and could have benefitted from a stronger connection to the titular author than the finished product delivers.