It's so repetitive that it will make you want to pick up your phone while it’s playing on Apple TV. You should play Tetris.

Once it gets out of its own way and gives the audience what they came to see, Evil Dead Rise is an absolute blast.

Trust me. It was worth the wait. Stahelski and writers Shay Hatten and Michael Finch have distilled the mythology-heavy approach of the last couple chapters with the streamlined action of the first film, resulting in a final hour here that stands among the best of the genre.

The truth is that manufactured spontaneity is almost impossible, and too much of “Honor Among Thieves” feels like it’s unfolding with a wink and a nod instead of being legitimately rough around the edges, in-the-moment, and fresh.

Director Abrams excels artistically while unveiling the sordid details of this doc from every single vantage point with no holds barred.

The movie does not live up to the eternally enchanting music, but it serves as an enjoyable delivery system for experiencing it again, which is magic enough.

Stonewalling is a moving slow burn of a character study, as well as an examination of female stagnancy, personally and politically. There is a striking, human sense of suspense to the film as we worry for Lynn, and root for her to find her power.

Some of Unwelcome is legitimately creepy and upsetting. Some of it is hilarious. Whether or not the hilarity is intended is unclear.

As Vázquez keeps adding elements in its last half hour, Unicorn Wars starts to feel like the beginning of a trilogy, or maybe a TV series that got canceled unexpectedly and had to wrap up its storyline in a handful of episodes.

You’d think a movie in which Adam Driver fights a bunch of dinosaurs couldn’t possibly be boring, but that’s exactly what 65 is.

As far as Scream sequels go, we’ve seen worse, but the wear and tear of the years are showing on Ghostface’s mask. The script is serviceable but surface-level, bringing up interesting ideas but never following though on them.

Based on the 2018 Spanish film “Campeones,” Bobby Farrelly’s Champions follows the basic plot of every other inspirational sports movie about a hangdog coach in need of redemption. But it has the added cringiness of using its team of Disabled basketball players solely as a method towards this redemption while completely failing to see their humanity.

This generic and redundant survival thriller is filled with scary Americanisms like “rednecks” and malfunctioning slushie machines, but nothing produces thrills, insight, or even laughs.

Those affected by America’s terrible immigration system need a film explaining their difficult plight. Knowton’s “Split at the Root” just isn’t it.

The Forger is constantly wrestling with its comedic impulses and the gravity of its time.

Jordan has long since proven himself as an actor of terrific charisma, versatility and humanity; with Creed III, he shows he’s just as captivating on the other side of the lens.

The characters never take shape, not even as caricatures. There are elements of parody, but Operation Fortune is not broad enough to be a spoof. It's weirdly empty.

This movie grabs you by the heart quickly and doesn’t let up the stress for any significant amount of time.

These events unfold with a sense of sickening inevitability, and when the scenes we all know are coming finally come, they’re as icky and hard to watch as they should be. But beyond simple documentation, the movie’s intentions are fuzzy.

The scenes under water are exquisitely beautiful, but it is the screenplay that feels soggy.

The film's biggest con doesn't come from this imposter protagonist so much as the messy script and direction that squanders an amusing-enough premise, and the apathetic performances from A-listers in search of a purpose other than fulfilling a contractual obligation.

Still the Water knows what it is and what it's doing, and even if it doesn't quite come together in the end, it's a mistake to think that there's no point or plan just because the movie doesn't regularly announce its intentions.

The Innocent is quirky, touching, and well-played fun.

While the first Children of the Corn was made on a reported budget of $800,000, it somehow doesn’t look as cheap as this new Children of the Corn, which eventually delivers just enough formulaic violence.

While the suspense that had carried the film for the first two-thirds of its brisk running time dips as it nears its conclusion, Cocaine Bear still emerges as a hell of a high.

It's a deeply empathetic film that displays an ability to balance the lyrical and the genuine while telling the story of a young man trying to figure himself out through two very different male role models in his life.

It's a small movie that takes big swings.

The Fallen Sun is a natural continuation for fans but also presents a way in for series newcomers, even sending the character off in a new direction that playfully acknowledges Elba’s Bond bona fides while asserting, not unconvincingly, that Luther’s world is quite enough.