It’s cinematic fast-food but not of the delicious, addictive variety. It’s a little overcooked and has gone cold – still edible but by no means satisfying.

Hit Man is smartly written, with Linklater and Powell deftly melding screwball comedy elements with rom-com beats against a Hitchcockian thriller backdrop. The small twists have big payoffs.

Take away the spectacle aspect and the movie may seem repetitive and underwritten. In a premium movie house, however, the immersion is so complete that viewers may require a short recovery period once it’s all over.

My reaction is that I could learn a lot more about Winehouse by listening to her music than by watching this by-the-numbers sketch of her adult life.

As a follow-up/homage, Chapter 1 isn’t bad but it feels superfluous, adding little substantive to what was previously provided by The Strangers and the second film in the series, 2018’s The Strangers: Prey at Night.

The narrative is all over the place. Character motivation is confusing. And, worst of all, the story simply isn’t interesting.

The battles and a climactic action sequence are well filmed but Kingdom isn’t trying to outdo the other summer films when it comes to edge-of-the-seat viewing. In a strange way, I find that refreshing.

The Fall Guy delivers where it matters – it’s a fun, uplifting excursion into big-screen escapism.

It’s not a complete package but it’s fresher than much of what’s out there today and is difficult to dismiss even if it sometimes feels like a graphic novel married to a video game.

Despite all its flaws, Challengers represents watchable high-end soap opera material. The story is undercooked but the dialogue contains some nice zingers and the actors are wholly invested.

It's easy to nitpick Abigail’s narrative. Parts don’t hold together well, there are significant plot holes, story elements violate just-established rules, and (in true horror movie fashion) characters sometimes make head-scratchingly stupid decisions. But, for those willing to overlook these often-familiar conventions, the movie is gorily diverting.

It’s all in good fun, if a little shallow.

Sasquatch Sunset is sufficiently different that it’s almost worth seeing for that reason alone. Alas, I don’t think it sufficiently rises above the gimmick of its premise to provide a compelling reason to spend 90 minutes in a movie theater.

When focusing on the micro-verse inside a news van and the four passengers taking the trip, Civil War does a good job dissecting the damage done by a desensitization to violence. But it botches the background and features an ending that belongs in another movie (preferably one featuring Gerard Butler).

Monkey Man may be a silly-sounding title but the story it tells is anything but silly.

The performances of Buckley and Colman rescue much of what’s salvageable in the narrative and there’s some interest in how the truth will be revealed but the movie isn’t as funny as it needs to be for the satirical elements to work.

The 94-minute running time is too skinny to do the premise justice and The Greatest Hits feels like a Cliffs Notes version of a longer, better story. Plus, for a movie that relies on music for its emotional core, the soundtrack is lackluster at best.

Even for those who have an orgasmic reaction to kaiju confrontations, far too little of the film is devoted to them and the overreliance on CGI leeches away the immediacy and awe associated with the spectacle. This isn’t as bad as the 1998 Godzilla misfire but it’s perilously close.

In the Land of Saints and Sinners is a clear, unqualified improvement over such recent Neeson-led thrillers like Retribution and Blacklight. And, although one can argue that his once-prodigious talents are wasted in cash-grab projects of this sort, at least the movie provides 90 minutes of entertainment rather than turning into a by-the-numbers slog.

Immaculate is at times unsettling and the ending contains a strong shock element but the movie as a whole feels a little too familiar to engage its audience.

As scattershot and uneven as it is unnecessary, it fails to effectively build on the foundation laid in Afterlife while at the same time relegating the “old timers” into oddly-integrated super-cameo appearances.

There’s still quite a bit to like here, from the strong sense of atmosphere to the layers of a Hitchcockian plot, but this is not a complete movie. And when viewers are laughing at a movie rather than with it, something has gone awry.

One Life feels like something straight out of the 1990s when many low-key, non-U.S. dramas were being embraced by art house devotees and more adventurous multiplex visitors. The movie is neither showy nor ostentatious. It tells a story in a workmanlike fashion that allows viewers to learn a little bit more about the central figure and why his life is deserving of a big-screen treatment.

There’s nothing imaginary about how bad a misfire this movie is even for the Blumhouse base.

Although the movie has a conventional structure, the straightforward chronological approach works for this material, allowing the viewer to come to know Cabrini and become invested in her efforts to develop an orphanage, first in New York’s Five Points slum then in rural West Park.

Dune: Part Two is a spectacle to behold with an underlying arc that makes it more satisfying than a 2 1/2-hour bite of eye candy.

It’s not a terrible movie but it feels like a failed attempt to infuse the Coen Brothers’ wry aesthetic into a B-movie tableau.

For nearly two hours, the movie plods along, offering little beyond hackneyed dialogue that can’t be gleaned from a quick read-through of Marley’s Wikipedia entry.