Meyers' disjointed approach to Human Capital expertly weaves its story into a gripping mystery that's further elevated by exceptional performances.

The film is far from perfect, but also does not attempt to be. Accents aside, the jokes are solid and don’t require a great plot to land. Quasi won’t blow anyone away, but it has its moments.

While it's far from a refined genre-blending thrill ride, there's enough about Project Power that works to partially offset its fundamental problems.

Fixed is fun while it lasts, more so than you might expect going in. Its most lasting effect on me might be a longing for more traditional, hand-drawn, 2D animation from our major studios, and anyone who might feel similarly shouldn't let this movie pass them by.

It's a fun and intriguing ride that, though it leads to an ending that one might guess is coming, has great energy. Clemons is a charismatic lead who delves fully into her role. When all the puzzle pieces finally come together, the film fires on all cylinders and makes for a magnetic watch.

Taurus plays like a personal project, but that doesn’t make it good. However, Baker should take pride in knowing he has a future in acting; he just needs to pick better projects.

At its core, Cabrini is a feminist story whose bloated 140-minute runtime slightly overstays its welcome, but also packs an emotional punch for those willing to accept its message.

Cleaner is a pretty good reminder of how fun it can be to watch someone with movie star charisma do a Die Hard.

Operation Fortune: Ruse de Guerre is a superficial spy mission that is joyless and charmless.

A Man Called Otto aims to be a crowd-pleasing, heartwarming film, and, despite its many flaws and speed bumps, is a success on that front.

It strikes a good balance between heartfelt and fun, and the cast has great chemistry; their interactions are joyful and dynamic.

Director Vicky Jewson and her stunt team... properly make dance a large part of its central characters' fight sequences, which gives them a very different flavor. However, this only elevates the film so far beyond its fairly underwhelming script.

Trolls World Tour serves up enough psychedelic visuals and positive messages to earn its keep.

Though Meester puts on a solid performance atop an intriguing plot, The Weekend Away doesn't supply enough thrills to make it an entertaining watch.

There is too much history — both in terms of the characters and the mythology — for newcomers to truly appreciate the events of the film. But it's unlikely to fully satisfy even the diehard fans either, even if there's some wicked enjoyment to be had seeing the Teen Wolf characters finally get to swear.

Accidental Texan forces us to sympathize with the characters rather than letting compassion form naturally. The result is a failed attempt to weave successful pathos throughout the movie.

This story and these women deserve better.

For those that persevere, there is an entertaining gangster film at the heart of The Gentlemen. There's a frenetic energy to Ritchie's movie that comes in part from his directing style, and part from the cast's clear enjoyment of bringing the film to life.

The Trouble with Jessica's cast still can't overcome just how unlikable their characters are.

Interceptor checks all the boxes in terms of making an action film that will grab the audience's attention, have one root for the hero, and let out a few chuckles (especially for one horribly done cameo) before promptly forgetting the movie exists.

At Midnight has a certain Old Hollywood flair that gives it a unique edge, but its surface-level approach makes the romance more frothy than impactful.

Run Sweetheart Run has a fierceness to its story that has to be admired, and paired with Balinska’s committed performance, the horror film is a must-watch.

Drenched in a Suspiria-like red, Malignant has its remarkable horror moments, but ultimately succumbs to a tale that is more style than substance.

With stuntman J.J. Perry behind the camera, Day Shift is a killer upgrade to vampire lore and a damn good time.

Marry Me could've gone deeper with some aspects and laid off the musical numbers a little bit, but it will still be the perfect movie for anyone looking for some romance this Valentine's Day.

Lou is a quiet thriller that takes a deep dive into the consequences of one’s actions. The film enables Janney and Jurnee Smollett to command every scrap of attention through physical and emotionally compelling performances.

Not all movies need to be action-packed, and that was never Mermaid's goal, despite what its opening, horror-themed mermaid encounter might have led one to believe. However, for a film that sets out to take viewers into the mind of a broken man clinging to his last shot at change, Mermaid does not pack the emotional punch that is needed to hook the audience all the way through.

While the point of the film is excellent, The Cut has a bit too much trauma. It’s like the writers wanted to throw everything at Boxer and see if he could survive it, but it’s a lot.

This is a sequel that doesn’t quite surpass its original, but is still a worthy follow-up all on its own. Anyone who enjoyed the original Enchanted should find plenty to love here.

Studio 666 is not great but it is gross, at times funny, and essential viewing for Foo Fighters fans. But it isn’t as good as the video for Long Road To Ruin.

Garner's performance is the heart of this, and if the movie were told entirely through her eyes, I think you'd have the compelling layer of doubt that the film sometimes seems to want.

Altogether, People We Meet On Vacation is a wildly entertaining and heartwarming romantic comedy that's perfect for fans of the genre, those who've read Henry's original novel and anyone looking for a date night movie as we head into Valentine's Day season.

Paw Patrol has enough action to keep young fans entertained, but parents will likely be bored by the dragging pace and convoluted plot.

Even more than its two predecessors, the film relies on being condescension to sell its so-called magic.

The Marvels is an uproariously fun and action-packed comic book movie that's made all the more delightful by the heartwarming dynamic of the leads.

Diary of a Wimpy Kid is a mediocre children's film that — 11 years after the first movie and 14 years after the initial hit book — feels at best derivative, and at worst unnecessary.

It sits somewhere at the intersection of Quentin Tarantino and Sam Raimi, though without the former's control of form and the latter's splatstick comedic timing, it can't quite live up to the potential of that mashup. Still, it's plenty of fun. Zazie Beetz is the ideal badass heroine to carry this movie, and there are more than enough moments of stylish violence (and violent style) to get the whole theater cackling.

It's hard to pick out exactly what was supposed to be funny when you take the slapstick away, and it occurs to me finally that Brothers was never actually a comedy at all, it's an indie drama wearing a clown costume for no discernible reason.

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

Going back to basics was the best thing it could have done. With a straightforward narrative and characters we care about who don't overcomplicate the plot, the film crafts something more timeless.

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.

It's a visceral experience, though it doesn't reach those epic highs because the romance, while it works on paper, doesn't quite materialize as expected.

Disney's Snow White is hardly a misfire, with Rachel Zegler shining as the titular princess, but it can't avoid familiar live-action remake problems.

Elevation comes across as a mild copycat rather than a compelling project that stands on its own merits.

Rather than pushing the streamer's holiday content in a unique new direction, the movie delivers a rote, cookie-cutter fish-out-of-water comedy that proves it's really no different from any other high-concept Netflix rom-com.

With unnerving tension, this slow-burning horror gradually unveils its alarming context.

In Eurovision Song Contest: The Story of Fire Saga, Ferrell's typical schtick is on full display, but wears incredibly thin in this overlong comedy.

Summering is a slow and ultimately boring mystery that does little to portray youth in a meaningful way.

Led by the delightful pairing of Emily Blunt and Dwayne Johnson, Jungle Cruise knows how to enjoy itself, even if the journey is a bit overstuffed.

The lack of a strong narrative and characters, paired with pacing issues, turn the film from an intriguing premise to a boring, hollow, and overall tedious watch.

Rosario stretches the material of a really good short film into an underwhelming feature.

Love in the Villa may be a silly rom-com at heart, but with Graham and Hopper’s compelling chemistry, leaning into the ridiculousness and unrealistic moments is worth it for these two alone.

Waugh knows how to build an action sequence with the best of them, and Shelter is, ultimately, an electric actioner, so long as it is sticking to the action.

Ruby Gillman, Teenage Kraken's story could've used a more well-rounded approach, but the strength of its cast and character dynamics make for a solidly entertaining watch.

It’s quite familiar, yet impressively sweet. Kilris clearly understands the appeal of Cyprus, her home, and offers us the chance to witness flawed humans go through the intricacies of everyday life.

The cast’s chemistry uplifts this film and makes certain moments all the more enjoyable. Everyone is clearly having a great time, and it shows in every scene. While the film probably won’t be remembered after audiences leave the theater, Champions is a lighthearted, feel-good sports movie that does exactly what it sets out to accomplish. It doesn’t do anything out of the norm, but it is a solid effort from Farrelly and Rizzo that will certainly boost one’s mood after watching.

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 disparate elements and overarching themes don’t entirely come together by the end, leaving the story’s emotional throughline weakened as a result.

Ultimately, The Laureate pushes past the tone and format of a typical biopic to make something fresh, though it holds weak spots in an otherwise compelling story.

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.

Whatever the intent, the execution isn’t all the way there, and that’s the biggest disappointment of all.

The unfortunate thing about Peter Pan's Neverland Nightmare is that it fluctuates far too much between a sincere thriller and a tongue-in-cheek take on the character that it's just never as fun as it could be.

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

Its absurdity is enough to appeal to the right group of adventurous friends, perhaps, but even those with the stomach for its grossest impulses might find themselves wondering what it was all for.

The Life List doesn't offer too many surprises or dwell in any unpleasantness for too long, making for a simple and relaxing viewing experience that hits right in the heart.

The Good Neighbor struggles with convenient plot points and inconsistent characterization, yet is still a thrilling ride thanks to its menacing lead.

Federer: Twelve Final Days is a slightly flavorless digestif after the main course that was the Swiss' inimitable career.

Sadly, None But The Brave suffers from numerous cliches with the characters, including Clint Walker (The Dirty Dozen) as Captain Bourke, mostly being archetypes instead of fleshed-out human beings. The message is also painfully on the nose, but at least it's earnest.

Vacation Friends finds its humor in the disconcerting scenarios the characters find themselves in, but it never evolves past its empty premise.

Sing 2 doesn’t offer enough originality to truly make it stand out, though those who got a kick out of the first movie will find plenty to love.

Don’t Look Up is a deeply unsettling yet darkly humorous watch. It has just the right amount of comedy and zeal without losing sight of its message or the tension bubbling beneath the surface.

Anchored by two great lead performances, Raymond & Ray is at its best when exploring the odd relationships between its complicated characters.

Between the Russos behind the camera and the talent in front of it, The Gray Man is a fun and exciting action thriller. It may be in the vein of cheesy 80s and 90s action movies, but that makes The Gray Man all the more entertaining and rewatchable.

The whole thing feels like a slightly wayward, if well-intentioned retread that was created out of the opportunity to answer three very specific mysteries in Rosemary's Baby, but muddled things too much. It's certainly passable, and there are things to admire, but this is nothing on the original.

The themes in The Miracle Club may be as old as time, but it beautifully celebrates the idea that friendship and compassion can be healing.

Ultimately, Bullet Train is one of the most entertaining and flashy films of 2022, thanks to lively performances, incredible fight setups, stylish cinematography, and punchy writing.

The first half is wildly fun, especially as it puts characters in the uncomfortable position of being at a party that goes awry shortly after the countdown. But what starts off as a quirky teen comedy with hints of sci-fi catastrophe turns into a messy romp that loses its intrigue.

Because of some questionable decisions, the film's key messages aren’t as effective as they could be.

At times fun and well-made, Amsterdam's meandering plot and thinly-drawn characters bog down what could've been a zippy story of crime and friendship.

Far from being a full-blown disaster, Downhill is a middle of the road comedy-drama that would've benefitted from a more incisive technique and a little extra faith in its audience's ability to grasp the subtleties of its story.

Being halfway between film and TV gives it the weaknesses of both and strengths of neither; trying to straddle the real with the mythic gives us characters that mostly feel too representative to connect with as individuals, and too individual to make compelling representatives.

Unfortunately, Reminders of Him isn't a very good film, at least in the traditional sense. But, like Regretting You, there's a certain level of lizard brain enjoyment that transcends much of the film's flaws and allows for all the soapy, melodramatic elements to be enjoyed at their own level.

Crucially, Last Looks' groovy tone allows the viewer to simultaneously try and crack the case while never having to overly invest in the plot.

A surprisingly bland film that somehow manages to dampen even Glen Powell's usual brand of effortless charm, How to Make a Killing is sketched together with thin characterizations, limp commentary and a sluggish pace.

Though leading lady Lili Reinhart does her best, Look Both Ways struggles to make a lasting impact with either of its dueling timelines.

With an underlying theme of love and acceptance, Single All The Way blossoms into a funny, delightful, and heartwarming romcom gift for all.

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

Venom: Let There Be Carnage delivers some more of what works - Eddie and Venom's dynamic - though everything around them remains quite messy.

A Tourist's Guide to Love is not remarkable, but its simplicity and familiarity are comfortable and, most importantly, entertaining.

Greenland 2 manages to put itself in a league of its own, proving that, not only can disaster movies avoid being totally nonsensical, but also, there can be something that comes after—and that exploration of what's next can be just as good as what came before.

It's ultimately Hunter and Brandy's performances that keep The Front Room from feeling like a complete missed opportunity and an occasionally engaging watch.

Costner and company know the importance of visual and sonic storytelling. In this film, the score, landscapes, and set pieces guide the stories along when the dialogue is limited, helping us to connect to the overall experience emotionally.

Every performance has something to offer and though the filmmaking is not very ambitious, it is well suited for the plot and tone. The Beanie Bubble isn’t fan service for lovers of the classic toy, but it is a refreshing take on the biopic.

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.

The movie possesses reams of intriguing ideas, but instead reheats much of Legacy's plot and then busies itself with semi-incomprehensible set pieces.

The characters have a myriad of flaws and plights that would have made them compelling, but the film fails to explore them beyond the surface.

Mothers' Instinct is a compelling thriller that elevates Anne Hathaway and Jessica Chastain to incredible heights. The film is a tense and terrifying story of love, loss, and deception that sees people pushed to their limits.

Luck may not reinvent the wheel — at this point, what can? — but it does what films like this do best, bringing forth a message about family and perseverance with humor, heart, and a lot of magic.