Overall, although this version of Speak No Evil doesn’t leave as deep or lasting an impact as its predecessor, it represents another in the seemingly-endless Blumhouse stable of low-budget films to warrant a recommendation for those who appreciate the genre.

Although the movie disappoints late in the proceedings by pandering to cliches, few will be so bored as to leave before the curtain comes down.

After a few missteps and/or odd choices for the director (including Dumbo and Dark Shadows), Beetlejuice Beetlejuice puts Burton back in familiar territory and, surrounded by past collaborators and a sense of nostalgia, he thrives.

A problem with this movie, as is too-often the case with productions set within the confines of a space craft/capsule, is that the filmmakers don’t trust the inherent dangers and claustrophobia of the situation to be sufficiently suspenseful.

Ultimately, Strange Darling left me with a little “Emperor’s New Clothing” feeling, with all the excitement coming not from the actual story but from the manner in which it is presented.

Sanders, however, has taken a deep dive into the world of pretentious horror, where every killing has to be as stylized as it is gory. His characters have no humanity, his romance has no sizzle, and the whole thing turns into a slog where style overwhelms substance to such a degree that there’s too little left of the latter to matter.

Blink Twice is a deliciously nasty “refrigerator film” – a psychological thriller that holds viewers spellbound while in the theater (even if certain plot elements fall apart upon later reflection – say, for example, when getting a snack from the refrigerator later that night).

It mostly works although the tension never quite escalates to the levels reached by Ridley Scott’s original and James Cameron’s even-better direct follow-up.

Skincare feels like it wants to be a screwball caper movie but the comedy gets lost along the way.

About the only reason to see Fire of Love is to be treated to more material from the Kraffts’ archives, since Dosa and Herzog mostly selected different footage.

Regardless of the reason, Borderlands arrives as a legitimate contender not only for worst film of 2024 but one of the worst videogame movies ever released.

Perhaps in the hands of a visionary genius in touch with their inner child, it might have been possible to achieve something better than an overlong throwaway distraction for a preschooler. In the hands of these filmmakers, however, it feels like a soulless cash-grab – an attempt to tap into the family-friendly frenzy that has emerged this summer.

Trap is a house of cards built on a bed of sand in the middle of a hurricane. It flies apart and collapses almost immediately and the various plot threads are so thoroughly ripped to shreds that there’s nothing left at the end but the wreckage of a movie and the recognition that 105 precious minutes have been stolen.

Demand for the movie is high and, although it’s not the be-all/end-all of superhero movies, its anarchic and rambunctious approach to the genre results in an entertaining hybrid of comic book action and straightforward satire.

Although Mc Carthy’s style is critical to the movie’s effectiveness, he doesn’t abandon the story in its service. Instead, he crafts a plot that is intriguing and engaging and caps everything off with a satisfying ending.

The opening sequence/prologue is gripping but that’s the only aspect of Twisters that works on its intended level. I was not blown away.

The fourth movie is in many ways better than it has a right to be and it’s certainly a worthy way to dispose of a couple of hours lying on the couch at home, but this is hardly a triumphant return for Axel or Murphy.

Everything about this movie feels both tired and tiring. Yes, it does a great job setting up a sense of deep unease but that quickly evaporates when it becomes apparent the movie isn’t going anywhere worthwhile or interesting, and the ending is downright silly.

Fly Me to the Moon isn’t a complete failure to launch (thanks primarily to the not-inconsiderable charisma and energy Johansson brings to the production) but neither does it have the thrust to make it into orbit.

Like undercooked comfort food, the series has lost its taste and appeal. Despicable Me 4 exemplifies what happens when an animated franchise overstays its welcome.

Maxxxine is the weakest of the three members of the X Trilogy. It’s as if West and Goth were too enamored with the character to let her fade away, so they contrived a scattershot and ultimately unsatisfying way to return her to the screen.

Although not without its merits, it’s far from a standout even when one considers how lackluster the current indie/art house landscape has become.

I applaud what Costner has given us with Horizon. This contains many of the things on my movie wish-list with its focus on an original story, diverse characters, and a classic cinematic approach. Problems aside, Costner has me hooked and I’ll be among the first in line to see Chapter 2 when it opens in August.

This works effectively as a stand-alone film and part of a larger story, and finds a way to extend the Quiet Place concept without feeling redundant.

Yankovic understands and takes to heart the maxim of never letting the facts get in the way of a good story.

Kinds of Kindness may not offer the kind of full experience provided by Poor Things but it is a reminder of the responses a movie can engender when the director doesn’t play by the rules.

It’s a passable production with some interesting performances but the bumpy screenplay and uneven pacing keep the audience at arm’s-length and limit the effectiveness of the narrative.

It’s solid, middle-of-the-road Pixar, not quite as good as some of their better sequels but superior to the Cars follow-ups.