Altogether Underwater is a middling movie that spans multiple genres, from sci-fi and thriller to action and horror, and can't seem to focus on any specific one.

Weighed down by its inability to fully commit to a story about fathers and lacking a fighting spirit, Rumble is far from being a must-see animation.

At the heart of this plausible political thriller is a need for more insightful and incisive writing. The Independent often shows audiences what they already know about American politics, but it doesn’t tell one more.

Manodrome lacks depth as either social commentary or character study, in large part because of how it positions us in relation to its protagonist's perspective.

Thompson and Mitchell's famed Abbott & Costello-style riffing and Mitchell's eternally endearing portrayal of Ed still make Good Burger 2 a largely satisfying Good Meal.

The Gallerist is a tepid satire. Even calling it such feels generous, as the film is almost entirely devoid of genuine humor.

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.

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

Squeezing every possible ounce out of the actors, script and sets, Stark delivers a thrilling medical drama that asks: what is the cost of living?

Unpredictability being its lone strength, We Need To Do Something is an uneven survival horror that gets caught up in its own pretentious trappings.

While the Code 8 movie's premise is more interesting than its other elements, it's handled well enough to warrant further exploration. Code 8 works better as a proof of concept than a standalone sci-fi thriller, serving up fascinating world-building with a fairly basic story.

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

While The Unholy Trinity allows its stars to shine, the cookie-cutter story drags this movie down enough that it's difficult to recommend.

Cat Person is not as compelling as it perhaps aims to be and, though there are great — and even uncomfortable — moments in the film, it doesn’t justify its tonal shifts or its feature length.

While Bloom and MacDowell anchor the film with their strong performances, leading an ensemble cast that is foundational to this rugged Western, the score by Mondo Boys and cinematography by Johnny Derango do a lot to embed the themes and concepts into the atmosphere of the film.

Gold isn't a gut-punch, but it lulls to sleep before spearing with a jagged branch.

As a piece of horror, the film is certainly effective, achieving a kind of discomforting aura that is sometimes missing from the too-polished genre fare released all-too-frequently.

While the film may thematically point to real-world struggles in the United States, The Twits is mostly an accessible story about the power of empathy in the face of naked evil, all to the tune of about a thousand fart jokes.

Ant-Man and the Wasp: Quantumania is a solid start to the MCU's Phase 5, working well to serve Scott Lang's story and introduce the menacing Kang.

Prisoner's Daughter may boast a stellar cast, but the movie is fraught with anxious and unrealistic characters, a terribly misaligned script, and a redemption story that hangs on by a fraying thread.

Overall, The Hill is lacking many of the hallmarks one would expect from a sports movie, pushing aside major events in favor of returning to its religious messaging. This leads to some baffling choices in its character development and storytelling, and those in turn erase much of the tension and emotion from the movie.

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.

With Pugh's powerhouse performance elevating the script and an engaging central mystery to keep the plot moving, the film has enough going for it to make it a pleasing watch.

Spirit Halloween: The Movie is a missed opportunity at best and totally unnecessary at worst.

Messy, strange, and somewhat baffling, Gavras’ film is chaos personified. For this sometimes funny film, I wish that were a good thing.

The Last Mercenary is Van Damme at his best: his comedic timing is precise (likely because he's acting in his native tongue), and the movie's action set pieces are deeply satisfying.

With an amusing ensemble cast, a sturdy script, lovely filmmaking, and the power of its leads' chemistry, Happiness For Beginners is a modest delight.

I don’t go out of my way to drag films, as there is so much time and effort put into every project, and a film of this caliber was likely made with the best of intentions. But intending to craft a pitch-black dark crime comedy is different from actually executing one well. And Riff Raff just doesn't land.

A fun film for all ages, Haunted Mansion may be the remake you never knew you needed. The feature is full of great laughs and some age-appropriate scares that will keep viewers of all types glued to the screen. While heavy on cheese and silliness, screenwriter Katie Dippold is never afraid to discuss an important topic like grief through her characters. It brings a realistic element to the film and balances out some of the fantastical elements. Haunted Mansion may not break any barriers when it comes to storytelling, but thanks to a dedicated cast and their commitment to their characters’ vivid personalities, you can’t help but smile throughout.

Writer-director Lee Cronin holds onto the essential mythology while bringing in elements from a host of other influences, including the Evil Dead series, The Exorcist, and Hereditary, to try and shake up what mummies can be on screen. Discovering the true nature of this film's mummy, and what it's capable of, is part of the fun. The result isn't quite a 28 Days Later moment – one way to understand the film's full title is that this feels like one filmmaker's interpretation of a classic monster, rather than a new template for others to follow – but it's definitely the scariest a mummy movie has been in years.

The performances elevate a story that could have gone deeper, but is fine for what it’s trying to be.

Sonic the Hedgehog is a fairly middling family-friendly adventure movie, but a comparably good video game adaptation the belies a great deal of potential for a stronger, even more ambitious sequel.

The Secrets of Dumbledore holds positives and negatives alike, and that makes for an entertaining, but slightly unsatisfying viewing experience. There is magic to be found, though, and perhaps that is all that matters.

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

Along with its genuine humor and a frank exploration of the different ways queer people live today, Jimpa is an emotional experience that feels authentic in a way that can be difficult to capture.

Lacking narrative direction and even pacing, Monster Hunter is yet another soulless video game adaptation that drowns in its own inadequacy.

It's a fun, but forgettable movie.

Halloween Ends is a satisfying enough conclusion to the H40 trilogy and, overall, the three films provide the strongest Halloween sequel continuity of the franchise's twelve post-Halloween 1978 follow-ups. For that reason, even if Green rolled the dice (and lost) on an underwhelming central premise for Ends, a satisfying conclusion to Laurie's story from Halloween 1978 to 2022 was worth any missteps that plague Kills and Ends. Still, in spite of this, it's hard to ignore that Halloween 2018 set a high bar for Green's revival trilogy - a bar that was undermined by the following chapter and is barely improved in Halloween Ends.

It's an interesting idea, trying to base a story around the idea of wishing on a star, a concept that has been Disney's foundation for decades, but Wish struggles due to a weaker script. But I can't lie: I was charmed by Asha's story and the vibrant world she lives in, and that can make up for any flaws in the execution.

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

Asphalt City might falter at times, but seeing Cross try to adapt to all the things happening to him makes for an interesting watch.

It's a fresh and exciting take on a familiar storyline, with bouts of tension and energy. It raises the bar for crime thrillers thanks to the incredible cast and performances throughout. Eenie Meanie has something for everyone, with a thoroughly satisfying conclusion that stays with you hours after the credits roll.

While Senior Year has certain moments that are indeed funny, it’s not enough to overcome the film’s many flaws.

The film is an effective, thrilling, frightening horror, perfect for those who enjoyed Bird Box and are thrilled by the prospect of more.

What enjoyment there is to draw from the action, which has its ups and downs, is tainted by the skepticism of this whole endeavor that's baked into the filmmaking. Even knowing better which direction they should go in, McQuoid & Co. remain frustratingly unwilling to commit to it. What they've made is tellingly at its best when making fun of itself.

Skarsgård and Benjamin make for an odd pair that work well together at every turn. The vision of Mohr is clear and realized, and the resulting work of art will excite audiences around the world.

Though it lacks the same zippy energy as the first film, Sonic the Hedgehog 2 is bolstered by fun new characters and a perfectly wacky Jim Carrey.

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.

The Seven Faces Of Jane is an experiment that just does not deliver the right results.

Palmer is fantastic in a film that needed more depth and time for Alice to acclimate to her surroundings. Without that, it leaves Alice’s realism and emotional core lacking as it veers wildly into one-note chaos.

Fans of De Niro and the gangster movie will have fun with this addition to the genre, but they won't find anything new in its well-tread story.

The film makes up for some of the missed storytelling opportunities with its stylish, exciting action sequences, and its swift pacing, all of which combined make for a fun, overall enthralling time.

While it never reached the level of success of Dracula, Son of Dracula was still a great late addition to the Universal Horror catalog.

The Witches is certainly bolstered by its performances and visuals (which is to be expected of a Zemeckis production), and while its speedy story will win over young audiences, it could've reached new heights had Zemeckis, del Toro, and Barris dared to add a bit more padding.

Like many of Netflix's original movies, Kate feels like another release that had potential to be good, but falls well short of the mark.

A holiday film full of creativity, family, and fun, Hudlin’s Candy Cane Lane is a Christmas gift worth watching. Led by a talented leading duo, this adventure could be your next guilty pleasure.

Those willing to go along with Billy's patchy journey just might find themselves entertained by what this DC sequel has to offer.

It's a thrilling ride, and the fun the production is having with itself is contagious. There are moments of humor and necessary breaks in the tension that let us laugh and allow us to get braver alongside the characters.

The film does an outstanding job elevating its horror with a sprinkling of disconcertment, but it takes a wrong turn by offering a muddled message.

Already working with a shakily thin script, Jákl weighs his movie down with an overly self-serious aesthetic, to the point that even the target audience might find the two-hour runtime a tough sit.

With lots of tongue-in-cheek humor, first-time director Ives has delivered a movie that knows it’s a little bit ridiculous but just runs with it.

Something from Tiffany’s lacks a good enough script and the chemistry it needs to make anyone want to sit through another holiday rom-com.

The Super Mario Bros. Movie is chock-full of Nintendo Easter eggs—to the detriment of the story and its characters, which lack any real substance.

There needs to be a vision, an ambition to make something good and memorable. Ida Red, unfortunately, seems to fall into the trap of emulating better crime dramas instead of trying to stand out on the merits of its own story.

Ultimately, Sweet Girl doesn’t necessarily reinvent the wheel or anything, but it tries to have fun with its material nonetheless.

Lord of Misrule feels like it was made with a lack of understanding of what actually works about its premise, and the result is a constant ebb-and-flow of being drawn in by the imagery and pushed back out by the storytelling.

You Should Have Left often feels like a watered-down version of The Shining, but Koepp still manages to maintain interest in its mind-bending story.

Crowe’s performance is The Exorcism’s saving grace. His dedication to crafting a character whose struggles he wears on his sleeve elevates the lackluster horror elements that are consistently on display, but that don’t do much for the overall story.

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.

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.

Ghostbusters: Frozen Empire has a lot of potential and a chilling new villain, but too many characters and a slower plot leads to dimmed thrills.

Overly reliant on tropes that have been done to death, Reminiscence emerges as an inert ghost of the past with no innate value or meaning.

Dance First won’t strike a chord with everyone, but it's also not intended for mainstream appeal, and those who connect with it will do so deeply.

Damsel is a lifeless experience. The filmmakers have assembled all the constituent parts of an interesting fantasy adventure film — genre-bending premise, a starry cast, locations with character, and some creative creature design — but the connective tissue is paper-thin.

True crime buffs could find something here, but they might be better off reading the novel it's based on. Susan Smith's story deserved to be told, but there had to have been a better way to do it.

There are some good moments in Shotgun Wedding. Lopez, Coolidge, and Lenny Kravitz are game and there is a Herculean effort from the trio to do something worthwhile with the script they are given.

Capone has lofty ambitions of being the next great crime drama, but falls short of finding a compelling story about its subject's final days.

Earwig and the Witch has all the parts needed to be a fun and memorable film, but seems to lack the manual for how to bring it all together.

Resort to Love doesn’t do anything unexpected or exciting and, despite its overly saccharine silliness, it is entertaining enough to watch in passing.

One Way won’t carve a place into the crime thriller pantheon, but its most notable achievement should be setting the stage for Andrew Baird and Colson Baker’s inevitable rises in the film industry.

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.

Since there are four films that precede this one, there are definitely less ideas to play around with, but the film still comes up with an interesting morality tale.

For all of its missteps, calling Dolly an outright bad movie still doesn't quite prove an accurate descriptor for Blackhurst's slasher thriller. It's got a solid cast of performers, occasionally stylish direction, and some shocking brutality, but can never quite find the right rhythm to bring it all together.

Unlike prior "house party" movies, Project X says nothing meaningful about its subject matter, and instead paints teens as an unlikeable and, worse yet, reckless bunch of automatons that would risk injury to themselves as well as others just for a passing glance from a pretty girl.

Lohan's latest Netflix movie is an inoffensive rom-com with ample amounts of cheesiness and heart.

It's not outright terrible, but it's nothing to get too excited about, either. There's even a sweet subplot about mother and daughters and familial trust. It's an overall cute family movie and anyone who adores Diaz and Foxx will find a way to enjoy it.

Despite the clunkier elements, though, IF pushes through with its warmth and optimistic tone, paving the way for some truly effective moments.

Genuinely fun and touching in parts, Hotel Transylvania: Transformania casts familiar characters in new molds, adding more heart to the franchise.

Even with a nuanced performance from Coster-Waldau and beautiful cinematography, Exit Plan is a slow-burn drama that fizzles out in the end.

The Watchers is a strange film. It has disconcerting moments, but it never rises above its premise. The story itself is half-formed at best, and the ending is so outlandish that I was stunned by how badly it’s executed. Somewhere in the supernatural horror is a film that’s worth its salt. Sadly, The Watchers is not even worth the price of a theater ticket.

They/Them is impactful for its reason for existing and the excellent ensemble cast that deserves to shine. The film is not unwatchable; it is merely without excitement. Satisfying as it is for the film to directly take aim at dangerous institutions, there is sadness in knowing this horror couldn't find a happy middle.

The film is melancholic and contemplative in a way that isn’t always the case with romance genre films.

In the end, Samaritan commits a cardinal sin of the superhero genre: It thinks a high-profile actor with vaguely defined superpowers is enough to make the film interesting when it clearly needs something more.

The Tomorrow War is a fun entry into the sci-fi/time travel genre, though the pieces never add up to something all that memorable.

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.

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.

Uncharted is joyless and has little to no personality.

House of Spoils is an exploration of witchcraft, land, and the respect it should be given, and a study of the perversion and stress of the restaurant industry.