Angel Has Fallen feels like it was cobbled together with cliched action scenes and circumstances overused by the once-popular TV series "24." Angel Has Fallen tries hard (and often succeeds) to topple the Kiefer Sutherland program on the “preposterousness” scale.

Ready or Not can be described as the fusion of dark comedy with the Grand Guignol. Unafraid to venture into cinematic taboo territory for its shocks and laughs, the movie doesn’t have many sacred cows. It’s the kind of thing we might have gotten if Monty Python had made a gothic-tinged horror movie.

Certain plot elements that made sense in the original are less logical in this one, especially when one considers the differences in bonds between mothers and children and fathers and children.

The film gets frequent laughs from its raunchiness but, underneath it all, there’s an emotionally resonant story of how children confront the demons of youth that guard the gates to adolescence.

Although Where’d You Go, Bernadette suffers from an ungainly structure and uneven pacing, the production as a whole is engaging and uplifting.

Blinded by the Light is a one-third Bruce Springsteen hagiography, one-third kitschy ‘80s recreation, and one-third feel-good father/son coming together. Surprisingly, however, it works.

Put The Angry Birds Movie 2 into the basket of sequels that no one was asking for.

The film’s depiction of cataplexy is a reasonable representation considering how it’s being used (sufferers may understandably disagree). It’s too bad that so many of the screenplay’s other elements – like its treatment of basic human emotions – are badly mishandled.

Three-fourths of a good horror movie and one-fourth disappointing. The film, constructed as a series of episodic vignettes connected by an umbrella story, remains solidly engaging until it gets to the ending.

The end result is something that feels like it should have been much better than it is.

Hobbs & Shaw is a “classic” summer movie in every sense. It uses Fast & Furious physics (as opposed to the Newtonian kind) to amp up the spectacle element while diminishing the excitement quotient.

The underlying idea is pregnant with promise but writer/director Shelagh McLeod, making her feature debut, is trapped by the time limitations of a film into cutting narrative corners and cheating to achieve an upbeat ending.

This is the director’s least violent feature film but it is in every meaningful way evident as a product of the man who made "Pulp Fiction."

Let me admit to loving the premise behind Supervized. The problem is that a movie needs more than a great premise – it needs to grow and nurture that idea, and that’s where Supervized falls short.

It’s probably strange to call a movie about illness and death a “feel good experience,” but Wang has pitched the film perfectly in this regard.

There are no humans in the film and their only participation was doing voiceover work. Of all the recent Disney recreations, that makes The Lion King the most curious.

Crawl is an old-fashioned B-grade monster movie made with 2019 technology. In short, that means plenty of gore and jump-scares to go along with creatures that no longer look like puppets or men in rubber suits.

Stuber is as bland and generic a mismatched buddy action-comedy as you’re likely to find.

It’s a rom-com where one of the participants is the self-described “last black man” and the other is a house.

While "Hereditary" crashed and burned in its final act, Midsommar stays afloat, although the movie is ultimately hampered by a too-long running length (147 minutes) and scenes that teeter perilously close to slipping over a cliff into self-parody.

Spider-Man: Far from Home works best when viewed as an epilogue to "Avengers: Endgame" (and, by extension, the entire MCU multi-film arc to this point) instead of a stand-alone adventure.

Although an intriguing way to deconstruct and reassemble a story familiar to most people who have taken high school English, Ophelia doesn’t live up to its promise perhaps because the lead character, even after having been “expanded,” is still rather flat.

Although the idea behind Yesterday was to craft a love-letter to The Beatles, the end result tastes a lot like a typical Richard Curtis rom-com with a generous helping of John-Paul-George-Ringo gravy.

I can’t say that Annabelle Comes Home, the third feature focused on the creepy girl doll, is the worst (because it has plenty of competition) but it’s easily among the dumbest.

Although Child’s Play is only 90 minutes long, it’s one of those movies where you check your watch so often you think it has stopped.

Even though Toy Story 4 sometimes feels like a regurgitation and retread of the earlier films, there’s something warm and comforting about spending 100 minutes in their company again.

Men in Black International is more than just an afterthought; it’s an unfortunate afterthought. Popular interest has long since evaporated and providing a new paint coat (courtesy of stars Chris Hemsworth and Tessa Thompson) can’t change that foundational fact.

No one steals scenes from Samuel L. Jackson when he’s in this mode. His entire modus operandi is to be the biggest, baddest motherf... (watch your mouth!) on the planet. Nevertheless, Regina Hall gives him a run for his money – something she does with a lot less screen time.