The movie's brisk pace keeps the cracks between the various plot threads from showing initially, but upon further inspection, it's clear Despicable Me 4 has so much on its mind, it's forgotten some of what makes the franchise so delightful.

Many times, the movie felt like a tonal jumble, even though both the heartbreak and the antics certainly serve the inspirational animal story genre.

There is nothing flashy about Davies' style and the found footage doesn’t feel obtuse; it feels imminent. The film sets out to execute a plan and does so without missing a beat. It is rare to extract so much emotion from a mostly technical achievement, but Benediction does just that.

Ultimately, Watchmen: Chapter 1 is a relatively promising start to this two-part adaptation of Moore's graphic novels, though it's brought down by familiarity, failure to surpass its prior adaptations, and a somewhat rushed pace.

Against the Ice is a searing portrayal of the cost to explore in the early 20th century.

It is consistently sweet and charming.

The film is masterful in exploring the kinetic energy between its leads, even in the most subdued scenes. The Pact is a slow burn, but one feels the heat the whole time.

The result may not be groundbreaking, but it's fun and it does what it sets out to do, creating an interesting supernatural horror that keeps tensions high.

Its focus may have needed some more fine-tuning, but Steve proves meaningful regardless.

I Want You Back will definitely make viewers laugh. The film isn’t trying to make anyone cry or be overly dramatic — it simply follows funny performances through the 2022 dating world and lets the audience fill in the blanks.

The Mother is a lean, mean actioner, but one that could have benefited from better editing and a tighter script. That’s not to say that the film is terrible or unbearable by any means, it's just that it is a straightforward narrative that does not require a nearly two-hour run time to tell it right.

As a story of parental reckoning, Goodrich lacks the interrogative instinct of something like Sofia Coppola's On the Rocks, and it rushes Grace's catharsis as a result. But as a story of a man's late-stage awakening, it strikes a more resonant chord.

While there is plenty of fun to be had with the monsters and the buildup towards the final showdown, The New Empire’s story feels forced.

It’s a tender drama and one that focuses on its characters in interesting, thoughtful ways.

Weaving an unsavory tale about isolation, bullying, and familial dysfunction, Slapface looms like an uncomfortable truth that is too desolate in tone.

Confess, Fletch isn't a ringing endorsement of rebooting projects from the 80s; instead, it is an excellent showcase of Jon Hamm's comedic chops, a well-known skill that has been primarily misused until now.

It’s a deeply symbolic and, at times, flawed film, but Tuesday is filled with love, heartache, and pain.

It doesn't reinvent the rom-com wheel, but it makes for easy, pleasurable viewing.

Despite lacking the same polish as many other movies the two leads have been in before, it's still a thrilling rollercoaster that offers plenty of twists and turns, making for a generally interesting addition to both actors' careers.

It proves to be a fulfilling and heartwarming journey.

Despite having a decent budget and some recognizable actors to work with, writer-director Tommy Wirkola, known for Nazi zombie film Dead Snow and his Santa action film Violent Night, ensured what ended up on screen was a pretty fun B picture. It doesn't have the stylistic touch that can sometimes bring a little something extra to playful genre films, nor does it have a true standout sequence that could give it a chance at a longer cultural life. But it does have just the tone you'd hope it would, especially as it nears its climax, and that's all it really needs to deliver the goods.

It delivers a beautiful and promising dressing before unveiling a largely by-the-book story. It is not bad by any means, but it doesn't push the envelope or explore anything new, either. Slingshot is a pleasant watch, but it doesn't ever rise above that.

It's elevated by a captivating lead performance from Sanz, whose terror when events start ramping up feels very realistic.

Gradually, everything becomes burdened with story. The more the triangle of Kathy, Benny, and Johnny is played up for drama, the less interesting it becomes.

While the indecision of the plot reflects the hapless existential angst of Hana’s mid-life crisis, Luxor moves further away from meaningful rumination as the film progresses, and ends not with a bang, but a whimper.

It’s not particularly memorable, but it also has its moments, elevated by the chemistry between Madelyn Cline and Riverdale’s KJ Apa.

Adult Best Friends certainly has its heart in the right place and it can even be quite funny and lovely as it navigates the characters’ friendship and its evolution, but it’s also overstuffed with unnecessary characters and subplots that don’t add anything to the core relationship beyond distracting it from being deeper.

The film is certainly worth a watch simply for the music and the entertaining aspect of its storytelling.

Soul isn't Pixar's finest or most resonant film, but its beautiful animation and soundtrack, paired with fun characters make for an enjoyable watch.

The Deliverance is bolstered by the cast’s commitment to the story and their characters. Without them, the film's ending wouldn't have been remotely believable.

Even a joyfully queer reimagining of the genre’s classically hard-boiled protagonists fails to inject enough new energy to maintain consistent intrigue, prompting viewers to seek a resolution to the central mystery well before its comparatively short 89-minute running time elapses.

While the film could have spent more time exploring its central characters, their emotions, actions, and how time has shaped them in the intervening years, My Policeman remains a tender, heartbreaking film that has one of the most devastating and emotional final scenes in recent memory.

The film's first act makes you think the Japanese forces trying to stop Godzilla will eventually thin out and reveal someone the movie will focus on. But that doesn't happen, and the result is a film without an onscreen focal point.

Hatton offers an engaging approach towards his storytelling. By concentrating on the intrigue and horror elements within his feature, the end result isn’t perfect, but there’s plenty of fun to be had throughout to make the watching experience an enjoyable one.

Under Fire is a little rough around the edges, and the story is not unique, but the performers make it special and elevate the material.

The Instigators is proof it can be very difficult to balance action, comedy and drama and nail a tone that fits the movie while still staying true to the genres. That said, the movie does have enough comedy, and a strong enough duo with Damon and Affleck, that it's still entertaining and fun to watch.

It's something of a disappointment that the film, as a whole, fails to live up to Byrne's great work in it. But it's certainly not a bad film.

It may not reach the heights of other great dysfunctional family indies, but the characters are at least engaging enough to watch that the movie isn't a waste of time.

Despite some of the struggles with the moral depictions of the figures, the actors behind Scoop's characters are all mesmerizing in their different roles.

Jenkin doesn't leave the audience without any puzzle pieces; there are enough for multiple stories to be constructed, should the viewer wish to understand Enys Men on that level. At a certain point, however, it becomes so difficult to disentangle the real from the unreal that to try feels pointless, and the last act suffers for it.

The sense of timelessness and the sanctuary (itself a bubble made to burst) add a listlessness to the film that only underscores the constant shifting of the family's foundation. Glasshouse may build to a climax that many can see coming, but that's beside the point. The conclusion plays off what has come before it, feeling like a memory that could have easily been forgotten.

While the film is determined to live in the pain felt and lobbed at its main character, there are moments of gentle vulnerability and contemplation in its exploration of guilt, redemption, grief, and trauma.

As each diatribe utilizes ever-more inventive cursing, the movie increasingly feels like a missed opportunity.

Its sometimes rushed pacing and overstuffed arcs often work against the meaningful messages at the core of the story, particularly the ending, but with enough charming moments and soulful performances from its cast, particularly Bacon and Sedgwick, it really toes the line between being a must-watch and an acceptable skip.

While The Beautiful Game can often feel like a commercial for an admittedly noble cause, the script and performances deliver a relatable human story of dashed dreams and second chances that reminds us why such charities are vital.

Though The Alternate could've been better served by a deeper exploration of its themes and characters, it offers a unique take on a familiar idea.

Freaked definitely isn't for everyone, and in my opinion it certainly shouldn't be rated PG-13 (who made THAT stupid decision???) but as a "beer and buddies" movie you'll find it funny and, well... weird.

Islands feels less like a destination than a prolonged pause. It’s watchable, occasionally absorbing, but rarely urgent. It’s hard to shake off the feeling that Gerster introduces narrative ideas he has little interest in fully developing.

An intriguing blend of genres and themes, The A-Frame fulfills its promise to excite and entertain even with its mishaps.

The Old Guard 2 is a film that feels longer than it should be and not long enough. It strikes an odd balance, but there’s luckily more here that works than doesn’t, even if the plot is thin.

Unpredictability is Agnes' greatest strength; its genre-hybridity lends a mixed bag of emotions, ultimately emerging as a raw tale about loss.

The Book Club sequel will make you feel as though you’re reuniting with old friends for some wine and life lessons, and that’s enough.

The Midnight Sky is a well-made and ambitious piece of sci-fi filmmaking, but it lacks the proper emotional punch it needed to truly connect.

What A Love Song lacks in execution it more than makes up for in stellar performances and beautifully directed scenes.

As a meat-and-potatoes thriller, Dangerous Animals does get the job done, but if it didn't center Jai Courtney's great serial killer performance, it would have absolutely nothing to recommend it to those who aren't already wholly devoted to watching every single thriller that comes to theaters.

I recognize that saying Zombies 4: Dawn of the Vampires is good at what it's doing hardly counts as a complaint. I would just personally prefer boldly uneven to generically good any day.

The film is very pleasant and manages to succeed in what many romantic comedies often fail to do — be entertaining and worth revisiting.

The movie asks a lot of questions and juggles a lot of ideas, most of them good, but key pieces don't stick their landing - undermining the overall impact of what Novak, clearly, intends to say. A missed opportunity, given that "finding your voice" is one idea that Vengeance spends a lot of time exploring.

The Prom is a bright yet flawed musical extravaganza that, while holding a vital message about acceptance, sometimes gets lost in its own celebrity.

The narrative of Monica is scant, but this makes way for a poignant examination of trans identity and loneliness through the lens of one family.

Though it lacks the grit and gristle of the best London adaptations, The Call of the Wild is elevated by Harrison Ford and a very good CGI doggo.

Aided by an excellent young cast, Secret Headquarters is a fun adventure for all ages, even if certain elements feel superficial in the end.

As a vampire movie, Salem's Lot is refreshingly old-school.

Led by a charismatic performance from Jesse Eisenberg, Resistance is a harrowing story but often feels as if it bit off more than it could chew.

All told, Thirteen Lives is a solid and compelling watch that stands as a testament to people's resilient spirits.

While Lowery's film is ripe for interpretation, and will no doubt be better received by those who enjoy that style of filmmaking, those wanting actual answers will find frustratingly little satisfaction. Mother Mary is, at heart, more about vibes and style than anything else.

The Damned has been made to a high standard. The film is extremely well-crafted; the cast, the period setting, and the eerie and isolated fishing village where the story plays out all help to create a tense and believable story.

With certainty, Cumberbatch put his all into this role. So, if for nothing else, it’s worth it to see him.

There is a great deal of cringe comedy in Not Okay and the actors all pull it off well. Shephard's social media black comedy is an entertaining film that may leave audiences thinking about their own relationship to social media.

Strange Darling is an effectively disturbing movie, labeled as an erotic thriller, which visualizes some interesting themes even if it distracts from them.

The film does a serviceable job of creating a revenge story, but leaves some meat on the bone in terms of narrative and visuals. Scenes come to a standstill and make a very short movie drag in places it shouldn’t. That being said, the final showdown makes it all worth it.

While Minions: The Rise of Gru still can't entirely justify itself, it does provide a far more heartfelt and fun outing than its predecessor.

Pieces of exposition and backstory are dropped sparingly throughout Animale. While this is a strength, the movie could've done with a little more exploration of Nejma's past and relationship with her mother.

Elfman’s directorial feature debut has enough to hold it together, including a tremendous cast and character dynamics that are thoughtful, interesting, and complicated.

Given some time to think on it later, viewers might have trouble pinning down what it actually had to say about all those thorny subjects it seemed to be about.

There are good bones here, but there's just not enough meat on them to make it a satisfying horror movie.

Unfortunately, Amelia's Children seems content to coast on the most generic possible avenues the genre can provide, with little to no variation.

It's far from a poorly-constructed movie, but the tonal issues and refusal to invest in its strongest personalities make it a frustrating watch.

Despite its fun concept and novel creature designs, Night of the Zoopocalypse ultimately finds itself weighed down by its lackluster script.

Seven Veils still falls prey to its own expansive focus, making it a compelling yet unsatisfying drama.

Locked Down is an average drama that relies on the strengths of its two lead actors to help elevate it above its various shortcomings.

Asleep in My Palm succeeds when it finds the human connection in its message, but gives too much time to moralizing conversations and not enough to character arcs.

The most glaring issue with Spaceman is that the leap from page to screen leaves quite a bit of the story behind and saddles its lead actor with much of the heavy lifting.

Even once the movie elects to deal away with its ambiguity and get right to its demonic horror, The Demon Disorder still feels largely too familiar and predictable.

Is it a well-made film? Absolutely, and Morosini has a strong vision for how to shape a story and characters right out of the gate. Unfortunately, that doesn’t turn I Love My Dad into a must-watch.

It never digs deep enough which, when looked at through the fairy tale lens, is appropriate, but ultimately seems like a missed opportunity for the film.

While Delicious presents plenty of interesting ideas, powerful themes, and compliments it with memorable cinematography, the weak story and characters ultimately drag the film down.

Whether that be through exploring mental abolition versus determination or even activism versus an individual’s special needs, Hamm’s latest had the potential to say a lot more than what was accomplished. Instead, he doesn’t do much with either, and he relies a little too heavily on his actors to take this uninspiring script towards sincerity.

Fear Street Part 1: 1994 is a perfectly fine throwback slasher horror movie, but is weighed down by setting up the rest of Netflix's trilogy.

A better survival thriller than social commentary via the horror genre, The Hunt only just holds together thanks to Betty Gilpin's virtuoso lead turn.

While Needle in a Timestack aims to be profound, it loses itself within the sci-fi premise rather than exploring the central romance in any detail.

The Strangers: Chapter 1 ends with a cliffhanger that paves the way for Chapter 2 , and that, I feel, is where this new trilogy will really get the chance to take off.

Bolstered by the sweet chemistry of its attractive leads, All My Life doesn't listen to its central message: Make the most of the time you have.

Despite a fantastic cast, Wildflower doesn’t live up to its potential, and uses its disabled characters as vehicles to drive the main character’s story, which will leave a bitter taste in your mouth after all is said and done.

While Emancipation contains beautiful cinematography amidst brutalities of oppression, it conveys very little about the man who should easily inspire the world.

Godmothered is a campy and heartfelt family-friendly Christmas flick, but ends up feeling like an adult rom-com shoehorned into a kids movie.

A decent feature debut, The Absence of Eden is a film that means well. Restrictions in the script hinder the film emotionally, which often show up in the actors' performances as well.

Sam somewhat shrinks into the periphery of the story to make way for Amanda Peet's Dianne, whose tonal world is welcome, but certainly different. Rather than hold things together, Shear the filmmaker seems to step back, too. The result is a film that only exists in moments: sometimes funny, sometimes interesting, always lacking the cohesion necessary to add up to anything.