Spy Kids: Armageddon is creatively deficient. With each new Spy Kids project, Rodriguez mines an empty cave; there is nothing but dirt and hopeless dreams.

Ultimately, First Blush works as an engaging, compelling exploration of how a change in a relationship can also wake up unresolved personal issues. However, while the first half is incredibly strong, Neumark struggles with bringing it all together in the end by rushing to bring the characters into conflict with one another.

Sadly, Diablo is not a special B-movie, but it is one with great fights.

Sporting skilled choreographed action sequences, Castle Falls offers a mildly satisfying viewing experience despite a weak and muddled storyline.

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.

Tonally inconsistent, writer-director J Blakeson takes a big swing and misses with regards to the film’s message. Rosamund Pike gives a fiery, powerhouse performance, but there is something completely missing from I Care a Lot that makes it a hard pill to swallow.

The film doesn’t always rise to the occasion, and there is some lost potential and a general lack of urgency, but We Were Dangerous’ heart is in the right place, bolstered by a great cast and a strong overall message.

As a film birthed from the pandemic, the presentation already feels outdated. There is an attempt to revitalize the format, but it falls flat. All in all, the family dramedy has all the right pieces, but, like any dysfunctional family, they don’t come together in the most cohesive of ways.

Keeping us close to the film's talented cast is a decided strength of this, and the performances add nuance to a largely straightforward viewing experience. But it's hard not to wish Fingernails had grander designs. It shows just enough of its full potential to leave us wanting to see those ideas expressed more fully.

The film has its fair share of intoxicatingly gripping moments and watching Kaluuya as Hampton is visceral and empowering. Unfortunately, it never feels like the story gets out of its own way enough to flourish, nor does it explore the complexities needed to emphasize and humanize the characters in the way that it should.

Margot knows the dangers of social media – her backstory has shades of cliché, but it's still effective in pushing her down the rabbit hole that her coworkers' superficiality precludes them from exploring. That investigation involves a string of missing persons and a killer obsessed with the dark corners of the internet. The biggest issue with Faces of Death, though, is that it's just not all that dark down there.

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.

While it can be profoundly moving to follow the story of people's small but important everyday lives, the film loses both the audience and its momentum by the final act when things should be heating up the most.

While Page’s beautifully nuanced and searingly felt performance will stick with me, the movie as a whole feels like something I watched through a window myself — one with frosted-over panes that, try as I might, I couldn’t scrape clean for a clearer, closer view of the story playing out on my screen.

Best. Christmas. Ever! is not the most splendiferous Christmas movie ever, but it will satisfy those hungry for new sentimental holiday movies every year.

Little Death is two vignettes — one more compelling than the other – that only loosely come together.

While the remake offers a fun, nostalgic moment for fans of this forgotten 1990s kids’ movie, it struggles to enhance or elevate the brilliant charm that made its predecessor so memorable.

With a little more thought, and some effort made to elevate the narrative beyond sexy killer robots, it could have carved out a space as a cult hit, but Subservience falls short.

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.

The Critic was far less fun than I had hoped it would be.

Ultimately, Horse Girl is a tricky film to unpack. On one hand, it's fine that it doesn't provide easy answers for the questions it poses, but even dedicated cinephiles may find Horse Girl abstruse and challenging to a fault.

It's entertaining, and there are a few chuckles to be had. One can appreciate the referential and situational humor as they are timely and apt for the characters. Lester and Gentry are a winning combo.

Gans and co-writers Sandra Vo-Anh and Will Schneider clearly wanted to try and make a faithful translation of the second game in the series, but between unnecessary lore changes and a lack of thematic heft in some of its storytelling, the filmmaker's return to the franchise is a weird mix of exciting recreations, gorgeous visuals and disappointing execution.

The acting, from both Black Panther's Letitia Wright as June and Tamara Lawrance as Jennifer, is a particular standout. Their commitment to delivering intriguing performances as troubled twins elevates this weak script and enables viewers to become fixated on what was happening to them.

Ultimately, Railway Children struggles a bit in balancing its tone and grand ambitions. However, for those looking for a sweet story about the power of friendship and childlike willfulness, this movie just might win them over.

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

Despite great performances from Lily Collins and Simon Pegg, Inheritance is weighed down by heavy exposition and its overly ambitious story.

Badland Hunters may not be a worthy successor to Concrete Utopia, but it is an entertaining zombie actioner.

Building to a fairly satisfying conclusion, The Severed Sun is scattered, but Puckett makes sure that it is confident chaos.

Ritchie is a prolific action director, and he leans action here, which is fine. When it's not being distractingly stylized, the action is good. But treasure hunt movies have a nerdy side that sometimes feels undervalued by this film.

The film is funny, but the drama doesn't fully work.

Freedom’s Path has some hurdles that it just can’t overcome from a narrative standpoint. There’s quite a bit of rose-colored storytelling that goes on throughout this feature. There are also significant pacing issues that make it difficult to lean into the storytelling. With that being said, there’s no denying the underlying heartfelt attempt at sharing profound messages.

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.

Ambitious ideas and stunning visuals do not make for a great film, but Millepied should consider following his instincts to fight for an all-dance musical for his next feature.

All told, Rescued by Ruby is perhaps not the most revolutionary dog movie audiences are likely to find, but it will certainly do the trick if one is looking for something sweet and inspiring. With little real drama and plenty of adorable puppy shots, Shea's film goes down easy.

Dog Man is trying to tackle too many themes and morals at once, creating a mess instead of a cohesive and accessible lesson.

Though it has its merits, an excellent supporting cast & fun musical numbers, Wonka wobbles in its journey & storylines while remaining heartfelt.

The story is simply a rehash of the first film, and even the jokes begin to fall flat well before the halfway point. Hocus Pocus 2 is enjoyable, but it doesn't quite live up to the lightning-in-a-bottle moment that was the 1993 film.

Tetris is a serviceable adaptation, but for all its visual flair and 80s nostalgia, there's still something missing when all the pieces come together.

The synopsis sounds straightforward, but there is a lack of balance from the start, and the film has an ill-mannered approach to telling a sensitive or impactful story about sex trafficking.

While Andrew Garfield gives a driven and kinetic performance as Larson, Tick, Tick… Boom! is messy, missing a distinct spark and emotional depth.

Without offering anything particularly interesting or nuanced, The Guilty still has enough to keep audiences engaged and on the edge of their seats.

Clock showcases that Jacknow is a talent to watch in horror, though the film doesn’t stick the landing. Occasionally, the concept is stretched too thin, especially when the character work is lacking.

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.

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.

It’s unfortunate that Being the Ricardos never becomes as interesting as the people it’s centered on. The film offers enough interpersonal drama to keep audiences watching and intrigued, but while Sorkin’s script moves steadily towards the ending, the story wanes and never builds enough momentum to truly impress.

It's clear there were several great ideas in The Radleys, wonderful casting across the board, but the edit leaves much to be desired.

Birth/Rebirth contains wonderful performances from Ireland and Reyes. But Moss’s directorial debut needs quite a bit more than stunning performances to leave a lasting impression.

Ultimately, Huda's Salon is a case of an exciting concept that can't maintain its own momentum.

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 movie's boldness helps craft an entertaining ride that is incredibly zany. Is this among the best shark movies? Absolutely not. But by the time Hot Spring Shark Attack was over, I couldn't help but smile.

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

Ungar’s Bandit entertains because of genre alone, but the ambiguous messaging leaves much to be desired.

Knights of the Zodiac, despite its reasonably minor flaws, is fun.

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

The lead performance almost shipwrecks Last Survivors, but director Drew Mylrea (Spy Interventions) is in complete control of his vision. Silverstone and Moyer feel extremely welcome outside their normal roles and should leave audiences wanting more indie genre fare from the duo. The twist alone should keep audiences watching because Last Survivors has got one that isn't worth missing out on.

While Schrader's directing and the casts' performances are more than up to standard, Master Gardener somehow ends up being less than the sum of its parts.

Despite finding a sweet spot, The Shallow Tale of a Writer Who Decided to Write About a Serial Killer falters as a whole. Buscemi, Magaro, and Lower give great performances, but it does little to fill in the gaps of the story.

When one thinks The Long Night is walking in circles, it breaks off from the beaten path just in time to give viewers exactly the movie that was sold.

In between nonchalant murders, Beers, Bacon, and Sedgwick aim for grounded heart-to-heart conversations of a kind that don't exactly feel at home in the movie's otherwise topsy-turvy world. But being that this is a real family that has worked together for decades, their chemistry elevates the somewhat lackluster writing to deliver a pleasurable, if tame experience.

The Binge is as ridiculous as its premise implies, which can be fun at times, while others it's a bit like a wild ride you wish you could get off.

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.

The documentary doesn't know who Jeff Buckley was. However, it might expose what we are desperate to get from him, long past the time he has anything left to give.

While the film is romantic and poignant in parts, the whole thing falls apart when it relies on the central couple, who lack intense chemistry and substance.

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

Delivering the blood, gore, and guts you would expect from the classics of the genre, Ziam has no intention of reinventing anything, unabashedly leaning into the tropes of these stories that audiences know well.

As the stakes rise alongside the body count, Canning nicely captures Candice's struggle between her enduring faith and doing anything to protect her son, giving us just enough of an emotional center to overcome the film's familiarity.

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 Inspection has a few poignant moments, but its lack of introspection, well-developed character dynamics, and exploration of the systems in place keep the film from reaching its full potential.

The beauty of a musical isn't just in the songs themselves, but the feelings they leave us with as we exit the theater. Leave One Day opts for a cheerier disposition that undermines staying power beyond its infectious tunes.

The script is mind-numbingly silly and, at times, doesn't try to elevate the remake meaningfully; it's really about engaging with the wild action and nothing else.

The themes end up both flagrantly obvious and obscured. On the one hand, the dialogue spells things out. On the other hand, broad martial arts sequences and goofy costumes detract from any nuance Zenithal could have conveyed. For those who want 80 minutes of overwrought crude jokes, this movie will not disappoint.

With Rebel Moon, Snyder is positively bursting with exciting ideas, but they lack compelling characters and a solid plot to hold them up.

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

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.

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

Helmed by a brilliant Bullock, The Unforgivable is a flawed retelling of a profound story, limited by plot contrivances and an unconvincing execution.

Despite subverting expectations and being edgy in its approach, the lack of energy and fearlessness keeps this story from reaching its full potential. Weiss's directorial debut is not a dud, but charm can only get you so far.

The movie shows both the best and worst parts of Trachtenberg making two separate Predator movies simultaneously.

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.

Candy-colored and ebullient, I Want Your Sex is not a bad film, but its hard to think of it positively when we know just how much more effective Araki has been behind the camera. The film is just never sure of what it is.

The film boasts a twee quirkiness in style, but in its narrative, that promise never really comes to fruition. It is, in other words, a much more normal affair than what is promised. In spite of many genuine laughs, that just translates into a disappointing experience.

The Devil All the Time is a slow, sprawling thriller, unfurling with creeping tension, but the cast's performances are more rewarding than the story.

It's full of fast-talking tech nerds and morally compromised corporate A-holes, it bites off a bit more than it can chew in telling the story of Research in Motion, but it's still a good time, reminiscent of mid-budget dramedies that have all but disappeared in recent years.

The film isn’t trying to hit us over the head with what it’s trying to say, but its themes have depth. When exploring career and glory vs. family, regret and the lengths one will go to return to a life that’s no longer tenable, McGuire gets in a few good swings. If only the horror lived up to these aspects of the film.

Despite the spectacular stunt work, Extraction is a garden-variety action-thriller dragged down by its regressive white savior elements.

Xeno doesn't make any gross missteps, but it doesn't have the juice to stand the test of time.

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.

Its approach is so diffuse that its uncertain and purposefully ambiguous ending is misguided at best.

Ultimately, John and the Hole is an interesting film that encourages contemplation. Those looking to be thrilled or disturbed will likely be disappointed; yet, audiences who appreciate a strong aesthetic, or simply want to see Michael C. Hall covered in mud, will find John and the Hole satisfying.

Infinite certainly has the star power to ignite some interest, and it's an entertaining ride with a compelling concept. At the same time, it buckles under the weight of its own world-building and suffers from a surprising lack of urgency.

Even when removed from the implications of his prolific career, there isn't a ton here that gives us an unbridled look into the man's inner life.

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

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.

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.

Abandoned has a few things in its favor, but the disappointing conclusion obscures them while making the movie's flaws even more prominent, which ultimately makes it difficult to recommend.

The 355 is an entertaining if unremarkable spy movie, with predictable story beats and mediocre action that's only somewhat saved by its strong cast.

The issues from the first installment are still there — and, in some ways, they only get worse.