While the experience it offers may not be to everyone’s taste, it is off-the-beaten path and effective for what it attempts to be.

Fountain of Youth is a perfect example of something that can play in the background but proves singularly unable to hold anyone’s attention for the entirety of its running length.

While the result is far from the pinnacle of Disney’s family-friendly production hill, it’s at least as good as most of the other animated-to-live-action transformations.

It’s a no-holds-barred action-oriented epic that doesn’t much care if it makes sense as long as viewers are amped-up and engaged. When the end credits roar onto screen with a full-throated rendition of Lalo Schifrin’s iconic theme song, it’s hard to argue that a good time wasn’t had by all, even if that “time” lasts longer than necessary.

In large part because of a great beginning and a solid ending, this is one of the better entries into the series, at least on par with Final Destination 3 and 5 and far and away better than the others.

Part music video, part bizarro psychological thriller, and part David Lynch-inspired descent into existential purgatory (I kept looking for Michael J. Anderson), the film’s weirdness is sometimes extreme enough to exert an almost hypnotic attraction. But, as good as he may be on stage and in a music studio, The Weeknd (a.k.a. Abel Tesfaye) is not a good actor.

One thing missing from Fight or Flight is the kind of Tarantino-inspired banter that elevated Bullet Train. In fact, the production is only fitfully successful in transcending the boundaries of a generic action film.

Another Simple Favor feels lazy and overplotted, and it definitely overstays its welcome.

Watching Thunderbolts*, it’s easy to forget this is Marvel. Bringing together the flotsam and jetsam of the MCU and allowing them to have their own adventure (without any major cameos) goes against the grain for a film studio whose mantra seems to be “Always Be Escalating.”

I can think of bad slasher sequels from the ‘80s that were more engaging than this one.

The movie works when focused on character interaction and buddy-movie tropes, but the action elements are perfunctory at best and boring at worst. Bill Dubuque’s script is never able to balance out the ledger.

I wanted to love Sinners more than I did but the energy level is so infectious that it’s impossible not to get swept up and pulled in. It’s a sloppy concoction that carves out a new niche for vampires not unlike what Let the Right One In achieved.

What starts out as a devilishly clever exercise in evasion and detection turns into a self-parody that climaxes with several eye-rolling whoppers. Well, at least it’s never boring.

This is yet another early 2025 movie where there’s just enough material in the film to assemble an intriguing three-minute trailer but not enough to make the other 120 minutes of more than passing interest.

Some players will enjoy the flashes of familiarity but others will find the production to be lacking. “Cringey” might be too harsh but this is unlikely to become the next video game-to-movie classic.

Those who want something substantial in their cinematic diet may recoil from what A Working Man offers. But for anyone whose primary concern is to see the righteous slaughter of bad guys at the hands of the noble Statham, A Working Man doesn’t disappoint.

Overall, Death of Unicorn falls short of being the Next Great Cult Classic but there’s enough here to enjoy for those who appreciate offbeat horror that doesn’t skimp on the grotesque aspects of the genre.

It’s not the worst we’ve seen from either Levinson or De Niro but there’s a sense that a pairing of these two working with a Pileggi script should have borne juicer fruits.

It’s disposable entertainment that will put some spare change in the distributor’s coffers while never coming close to replacing its venerable antecedent in viewers' hearts.

The film will likely find a receptive audience among those who enjoy blood-soaked B movies. It has enough gory elements to enhance the overpowering mood.

The seeds of a nice little white-knuckle thriller are evident but they never germinate properly. The end result is profoundly disappointing and can’t be saved by the few individual moments that do work.

The Electric State has an epic look but that’s increasingly common in any movie with sci-fi elements. But, aside from the special effects, it feels unfinished, with the actors groping to inhabit barely-there characters. What does it say when Mr. Peanut has more personality than either of the main characters?

Hollywood’s decision to abandon this kind of storytelling is one reason why cinema in the 2020s has fallen into the doldrums and, when something like Black Bag arrives, it’s a bittersweet reminder of the potential of the big screen experience.

As it is, this is a painless experience but lacks the qualities to make it a true pleasure.

The screenplay fails to provide any reason to care about the characters or their circumstances, so we sit in a theater seat, trying not to be hypnotized by all the flashes of light in the muddled brown-and-white environment or lulled to sleep by the inane babbling that passes for dialogue.

A mostly failed attempt to merge sci-fi with satire, Mickey 17 suffers from a fragmented narrative and a scenery-chewing performance from Mark Ruffalo that belongs in a different movie (perhaps Poor Things).

For those who hang in there long enough, Riff Raff delivers. I just wish the buildup had been more engaging.

Although I was suitably diverted by Last Breath, I couldn’t help but feel there was a missed opportunity to tell a more riveting story that, for whatever reason, the filmmakers chose not to pursue.