None of the film's themes blend together appropriately, even when one may suspect a great film will break through.

Silent Night winks at us as often as it tries for genuine drama, and whichever tone you choose to accept will likely determine whether you have as much fun with it as I did.

All in all, Creation Stories is by no means a loss, it's just missing that special ingredient that would transform it into a film worth being excited about. Instead, it could have simply been a spirited documentary narrated by Bremner.

Munich: The Edge of War is a well-made period piece able to stage necessary tension despite its real-life story being so well-known.

The Beekeeper is an engaging ride, and once the action starts it never lets up.

For a story centered on childhood trauma, domestic violence, and the cycle of abuse, these themes feel like afterthoughts when they could have been its strength. It’s certainly lacking, but hearts were in the right place.

Hate it or love it, Prisoners of the Ghostland is as unforgettable as it is expressive and provocative, and isn't that the fundamental purpose of art?

The result is a baffling and confounding mess that is either intended to make audiences laugh or is dead-serious in its pursuit. Whatever the intention, it is up to viewers to decipher what is most true to them.

The return of Axel will satisfy fans of the franchise, and it might encourage those who are just tuning in to watch the original trilogy, if only to watch one of Murphy’s most significant roles from the 80s, a true golden era for the multi-hyphenate entertainer.

This movie won't be for everyone, but Dafoe enthusiasts will have to check out his go-for-broke depiction of a man at his wits' end. It keeps the movie exciting even when the pacing falters.

Star Wars: The Rise of Skywalker gets bogged down in exposition and course-correcting The Last Jedi, but does have some fun moments and fan service.

Co-writer/director Ryan Prows has assembled a star-studded cast, some of whom wonderfully elevate their potentially one-note characters into intriguing figures, and its base structure of corrupt cops being vampires is one rife for tackling the very real issues of police corruption in the world, yet the mix never quite comes together.

The Mauritanian is an incredibly powerful, poignant, enraging film, one that is uplifted by an incredibly magnetic lead performance by Tahar Rahim.

Trolls Band Together never lets the family adventure color outside the lines.

While more could have been done to develop Dinklage and MacLaine's characters, or explore the outcome which comes in the film's sudden and succinct conclusion, American Dreamer does a tremendous job of exploring one man's American dream, the lengths he must go to achieve it, and what is waiting for him once he reaches that goal.

Filled with a lot of action, The Forever Purge is at times thrilling, but it remains at surface-level rather than delving further into its themes.

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

While there's an attempt to convey a message about relationships, We Broke Up is more focused on awkward shenanigans than in exploring its characters.

Landon's latest will be best remembered for its multiple laugh-out-loud set pieces, and with the craftsmanship and performances on display, viewers will likely be willing to forgive its less-impactful stretches.

Audiences want to be moved and given a reason to revisit the emotions sparked by the story, and Lilo & Stitch delivers.

For all its flaws, The Deb is hilarious and entertaining. The music is infectious.

This is merely an example of misalignment when it comes to direction and script. Because while Kane’s vision is mostly clear, the execution of this particular script stumbles.

It’s a fascinating story to balance, and though it doesn’t always work, Finley really runs with the concept and its various themes. It’s safe to say there’s never a dull moment in the film, and it isn’t predictable in terms of what comes next.

Renfield is goofy, with fantastic action sequences and a few comedic beats that land, but it could have also been so much more.

Sharp Stick is charming thanks to great performances, but the lopsided script doesn’t reach its full potential.

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.

Held together by the cast’s chemistry and strong character dynamics, The Tender Bar is a touching film about growing up and the people who shape you.

Silent Night, Deadly Night, is at its best when Nelson remembers how schlocky this material is, and he falters when he tries too hard to take it seriously.

The film is chilling, balancing its actually scary horror with a lot of heart, advancing the Warrens’ story and providing audiences with a change of pace from their usual cases.

Rodriguez as a filmmaker has a history of implementing creativity and inspiration in his works. But with Hypnotic, the end result is a dull feature that doesn’t come close to its potential.

None of it works. I'll cut to the quick: The Moment is an unmitigated disaster.

There were enough pieces here to create something interesting, but it never fully came together.

Not everything works and the humor tends to run its course, but Gates puts a solid effort together given the limitations.

Although The Quarry feels lackluster in its execution, it's an intriguing story of redemption that's largely carried by a captivating Michael Shannon.

With strong characters and a twist that meaningfully adds to their story, Long Weekend is an engaging romantic tale that offers a satisfying journey.

Brick is still a gripping thriller. It's well-made, but there is something lacking overall that could have been made better by diving deeper into the relationships of the central characters.

Malcolm & Marie serves as a powerful showcase for its two stars, with Washington and Zendaya elevating the script to compelling results.

The movie asks a lot of its audience in terms of suspended disbelief, and while it occasionally handles its cheesier moments by poking fun at itself, there are times when cringe-worthy lines are delivered with absolute sincerity. Particularly early on, in fact, You, Me & Tuscany seems doomed to be yet another trope-y romcom that fails to set itself apart. What ultimately saves the movie is unquestionably its cast. Unsurprisingly, given their respective romance backgrounds, Bailey and Page are everything audiences want in romcom leads.

While it has entertaining moments, Black as Night isn't very balanced and the overall lack of levity ultimately makes the film a slog to get through.

The tale is gripping, the acting is top-notch, and Luther: Fallen Sun is just plain good to miss for long-time fans of the series.

While the plot is suspenseful and unsettling because it’s something that could happen, the film underwhelms when it comes to its dynamics and individual arcs, each character lacking a depth that would have elevated an otherwise solid thriller.

This is the kind of movie I'd like to see more of, the kind that wears its heart on its sleeve and takes us on a ride. A meandering ride, sure, but even a long trip can have its perks.

Black Friday is a solid camp thriller that blends hilarious visual gags with some seriously grisly — if problematic — guts and gore.

With so many people and life going back to some semblance of normalcy, Alone Together may feel slightly too late, but Holmes' film offers something worth engaging with.

While formulaic, Bruised beats the odds by being a fairly entertaining & moving sports drama that has everything one would expect from a Berry film.

Amanda Seyfried gives a nuanced performance, but A Mouthful of Air fails to go beyond the surface to engage with its themes in a meaningful way.

As much as it might omit details important to the wider historical context, The Penguin Lessons confidently engages with its intended topics, and creates something beautiful and emotional.

Ricci’s assured and robust lead performance helps build upon some exciting ideas in the script and is ultimately the reason to watch. She is thoroughly captivating and, while the film never reaches her level of excellence, it is still a relatively fun, wonky ride.

Reptile gets an extra edge thanks to its rock-solid cast and sufficiently gripping mystery, but it never coalesces into anything incredible.

The film has some elements that work, but not enough to overcome its gratuitous cameos, its need to be bigger, or its wasted nostalgia and bloated runtime. Unfortunately, our lovable golfer may have been better off staying in retirement.

While the film’s leading cast gives fantastic performances, Four Good Days lacks focus and fails to expand upon its emotionally powerful moments.

Parthenope is sensual and visually exquisite. It might not dig way too deep into its message, but it does get it across by the end.

The concept is no doubt thought-provoking and, occasionally, even creative. But it’s hard to get behind the journey the AIs go on when it’s so detached, the film itself attempting to be a gripping narrative conveying heartfelt emotions that just don’t land.

The film is, unfortunately, just another instance of the book being better than the movie.

It's a worthwhile, nostalgic UFO movie with plenty of interesting ideas that made it a strong, impressively passionate watch.

At the very least, The Cow offers some food for thought and has a strong setup, even if it doesn't fully deliver a satisfying conclusion.

Despite some genuinely funny and endearingly nostalgic moments, Coming 2 America attempts to do way too much with its plot rather than keep it simple.

Albeit a good-looking movie with a fascinating premise, The Seed is constantly being held hostage by its poorly written script.

Kandahar won’t knock your socks off, but it offers a solid story that doesn’t try to be something it isn’t.

Despite being flawed, though, Trap is thrilling at times and a ridiculous display of human behavior at others.

While it might not stand the test of time, the film is an entertaining, easy watch that works well enough.

Cervera’s film is consistently intriguing, elevated by the dynamic between Winstead and Monroe, who have solid onscreen chemistry.

While Eternals has most of the benchmarks of a Marvel movie, Zhao's sprawling superhero epic is unlike anything the MCU has produced before.

The film is overly long, dragging out its story unnecessarily, with Daniels haphazardly shifting focus away from Holiday constantly. The film is unbalanced, generally failing to center on the song driving the story while romanticizing an affair between Holiday and a FBN agent.

Unfortunately, Run Rabbit Run is less than the sum of its parts, and even an excellent turn from Sarah Snook can't elevate the movie beyond its basest instincts.

The biggest selling point is Squibb. With a mischievous twinkle in her eye, she shoots off wisecracks and plenty of grandmotherly affection, and you almost wish you could be friends with Eleanor too.

First Date is a hodgepodge of familiar tropes and homages to teen romcoms and, while there is a sliver of promise, the film is lacking in charm.

Yes, Charlie Heller (a brilliant Rami Malek) spends an appropriate amount of time dreaming up memories of his beautiful wife Sarah (an underutilized Rachel Brosnahan), but the screenplay by Ken Nolan and Gary Spinelli offers plenty more than the usual setup of a man hulking out over a woman's death.

A stumble in the third act derails the whole adventure, bringing the enjoyment to a screeching halt. However, with some foresight, Windfall could have been a sure-fire hit.

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

Ultimately, Over Your Dead Body is too messy for its own good. It is unable to settle into any one choice. The repeated motif of flashbacks and plot twists is fun, but not always useful in keeping the ball up.

The Last Voyage of the Demeter fails to deliver on its early promise of being a compelling horror experience. The focus on jump scares and a skeptic character detracts from the potential scares and fails to bring authenticity to the storytelling.

Even though Invader presents some interesting ideas and even a few tense scenes, the movie fails to capture much interest beyond its initial premise.

While After the Hunt succeeds at the first, it’s the screenplay’s lingering indecision that ultimately lets the story down.

Thanks to the special cast chemistry, 80 For Brady’s charm shines through despite being good for only a single watch.

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.

It leans into unrealistic territory, and we’re unfortunately left with a trashy story that very few will like. Not even the ever-charming Gina Rodriguez and confident Damon Wayans Jr. could save this film.

Aided by solid performances, National Champions has a great story, but ultimately its individual parts aren't enough to score the winning touchdown.

It's a mindless good time.

The Watcher In The Woods is an eerie, gothic horror movie and while it's suitable for older children, it feels utterly unlike anything else Disney has ever made.

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.

No Man’s Land is largely uninterested in exploring the Mexican characters’ stories, which transforms the film into an unbalanced drama that lacks nuance.

Marmalade is one wild ride, as long as you're willing to stick with it.

The lack of specificity around the situation and the underbaked character development reduces Azrael to being nothing more than a horror with an interesting premise.

The film's events feel natural, so the audience doesn’t have to dig deep to understand and relate to the characters. Combined with a hilarious cast who are all on the same page, The Drop delivers an entertaining enough viewing experience.

Bloody Hell inexplicably combines two elements that shouldn't work and yet do: high-octane action with a creepy, sadistic family of murderers.

As fun as the film is when it leans into its genre trappings, Touch Me wouldn't be anything without its small-but-superb cast. Olivia Taylor Dudley, largely underutilized beyond her time on The Magicians and with Onyx the Fortuitous and the Talisman of Souls, is transcendent as Joey, easily delivering a career-best performance.

The Last Thing Mary Saw could've been a gripping queer horror about religious oppression, but is sadly limited by its humdrum and unconvincing plot.

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.

The Colony utterly fails as a thriller, and, much like the environment the main character finds herself in, is mostly a slog.

Both amusingly ridiculous and completely by the numbers, The Main Event makes for generally watchable (though very disposable) kid-friendly fluff.

William Tell is a rare movie that I would argue should have been longer. If there's any story that could justify a three-hour runtime, it's William Tell, and the pacing would have benefited from this length enormously.

I Wanna Dance with Somebody celebrates the star that captured the hearts of many fans around the world. And through a great performance by Ackie, this film has the ability to do the same, even if it sticks to genre rules.

Witherspoon and Ferrell play off each other fairly well, but I'm not convinced they have the chemistry necessary to pull off some later developments that I won't spoil here (but honestly, it's easy to guess what it is fairly early on). Throw in some big cameos that really don't go anywhere — the trailer already revealed Peyton Manning, who does nothing — and you get a fit-to-bursting comedy that's only intermittently successful.

It All Came True isn't a typical gangster movie. It's a lighthearted musical comedy that happens to feature a couple of sinister details, like the fact that Humphrey Bogart's character, Chips Maguire, is trying to keep a low profile after committing a murder.

That the film is so admirably sex-positive, especially as it is from the too-often silenced perspective of female pleasure, makes it all the more refreshing.

It's a standard-bearer film, a real fastball down the middle, which hits all of its assumed itinerant emotional beats right on target, without ever really challenging us in any major way.

Death of a Unicorn is incredibly entertaining. It's weird and a bit goofy (in the best way), with a satisfying ending and character interactions that are off the wall.