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.