Silk Road has the makings of a gripping thriller, but it surprisingly lacks the tension required for it to work.

From the opening scenes, The Woman in Cabin 10 hooks us and doesn’t let go.

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.

While the film does win some laughs, and the third act is noticeably better than the first two, Summer Camp won't be for everyone.

The movie's attempts to expand The Grudge's mythology generally don't work, and its stabs at being grittier and more realistic than the films before it are undone by its over-reliance on bloodshed and just plain unpleasant details for shock value.

The revelations of the film, once they come, are admittedly disturbing. But the route to get there is paved with blandness and awkward acting.

While O’Dessa has a lot of style, it doesn’t have much else. Its substance is sorely lacking, with a lot of jumbled ideas and themes that don’t come together.

Easter Sunday starts off well enough before getting off track completely, too preoccupied with aspects of the story that aren't good and don’t matter, sacrificing its characters and their relationships with each other as a result.

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

Infamous has a good balance of fun thrills and compelling drama that make for an entertaining watch.

Here Today finds warmth in leads Crystal and Tiffany Haddish, which then allows it to push past some tricky tonal and pacing problems.

Bleeding Love remains under-written and over-directed, unable to fully justify the time it asks for. If you're wanting to see Ewan McGregor do some quality acting, there are plenty of more rewarding options.

Falling For Christmas was the best comeback film for Lohan; it could have been better quality, but it is better than nothing. She's in her element, and her natural charisma is illuminated, partially by how uninteresting her costar is. The script and overall production leave much to be desired, but with how low expectations usually are, this one is okay.

Its endless, unfunny humor is tiresome and obnoxious, the commentary is short-lived, and jokes related to Sam’s unpreparedness are repetitive.

Ralph Bates gives a phenomenal interpretation of Victor Frankenstein himself, but it's David Prowse's musclebound monster that steals the show. It jumps through a lot of the same hoops as the Universal version, but it does stand out compared to other interpretations.

In the end, Waltzing with Brando will leave you with more questions about the man than you probably had going into it, which would be interesting enough if Fishman leaned harder into the murky waters of this particular celebrity's mythology. But, like the land upon which Judge tries to build an island escape, the film is in a constant state of drowning under its own ambition.

Heretical or not, it's a captivating story, even when it seems predicated solely on vibes. It's a shame, then, that the film is not as accessible as Jupe is as an actor. The first two acts move like molasses, brimming with allegory that never quite translates off the page.

It hits the familiar beats that many find comforting, it has an undeniably adoring dog front and center for much of its runtime, and has a well-meaning enough outcome to its plot. But for those looking for something that doesn't quite literally skate the surface of its premise and characters, this is definitely not the film for you.

Between its concise action and Crowe's scenery-chewing, Unhinged makes for an amusingly trashy B-movie, even if its social commentary never congeals.

While Code 8: Part II manages to outdo the original movie in its sci-fi elements, that is not the only improvement that can be seen in the sequel.

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

Written and directed by Mike Cahill, Bliss has strong ideas about economic inequality and it ambitiously works to pull off being a sci-fi thriller that is layered with social commentary. However, the film falls short of delivering something more compelling and complex, primarily because it's trying to do too much at once.

It isn’t sincere or as inspiring as it believes itself to be, but it also understands what its aims are, and that self-awareness is worth noting.

Honeydew feels derivative from start to finish, its arthouse elements lending an aura of inauthenticity to an already-lackluster backwoods nightmare.

Despite sturdy performances, Without Blood doesn’t fully come together.

Packed with great action sequences and a cast that is committed to each other and the script, Gray's latest is creative and fun enough to hold attention.

The convergence of the story of a bereaved mother with a cult-like presence in the new country she calls home does not blend as effortlessly as one would like. The third act proves it cannot. Despite this, however, The Twin makes for a fairly constructive horror that is worth a watch.

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 drama feels undercooked, and the characters barely escape one-dimensionality.

Despite the movie's obvious problems, it's hard to deny that Emma Roberts and Tom Hopper do their best to make Space Cadet a generally charming ride to watch.

The film’s cast is great and, though the actors typically have great comedic timing, the dialogue falls flat and renders the humor inert. About My Father has a heart at its center, but it never really gets there in terms of having a compelling story and humor to elevate its scenes.

With a premise worth engaging with, the film can’t quite grasp what its full intentions are and the execution reflects that.

Abraham’s Boys wants to drive home a message about violent legacies and the never-ending cycle of generational trauma, but the payoff feels incongruous with the setup, the final kill feels unearned, and the B-movie execution makes it unintentionally funny.

Even while Thorne's performance proves effective enough to keep us attached to her story, the rest of Saint Clare's cast fails to attain the same feat.

Overall, The Boss Baby: Family Business is a fun way for adults to spend some time with their kids, and in that regard, the movie completely succeeds in its purpose.

The film is messy and gets tangled up in its protagonist’s folly, but in the process, Zac Efron delivers a heartfelt and killer performance.

It’s a film so soulless I questioned the point of it.

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.

In some ways, The Exorcist: Believer feels tame when it comes to the full potential of its premise.

Despite a few strong aspects here and there, Inherit the Viper is more or less a fleeting entry into the crime genre that won't stick out in viewers' memory after the credits roll.

The Kissing Booth 2 has some fun moments, especially for fans, but is ultimately an overwrought, overstuffed and overlong teen romcom sequel.

In the end, Escape the Field is tolerable at best. It doesn't shatter any expectations, but it won’t be utterly hated if one decides to give it a go. There are more charming and innovative horror-thrillers about escaping a maze, but Escape the Field tries. For a first feature, it is serviceable for a small-budget venture.

As much as it tries to be a mash-up of several genres, it would've been much better had it picked one lane and leaned into it.

Ultimately, there are few filmmakers whose work I admire more for its sophistication and undeniable humanity than that of Brooks, but this film isn’t just bad — it’s unbearable.

It doesn’t break any genre barriers, nor does the film offer anything new to say about these respective topics. However, Tagliavini nicely crafts a Christmas rom-com that is funny and sincere — a feat with which many other holiday romantic comedies have struggled.

Dear Evan Hansen might be well-meaning, but it completely misses the mark. It’s not the worst movie out this year, but it’s not a musical one might be inclined to rush to the theater to see, either.

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

The finished product has more than justified the cost. From the casting to the costumes to the full-fledged concert performances, Michael lives up to the legendary status of its namesake.

Mother of the Bride's success rests on the filmmakers' abilities to not oversell anything and trust that the collective charisma of the assembled cast will do what it needs to do — and it does, though a flimsy script and one major miscast can be distracting.

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.

Even with a literary atmosphere and a steamy romance, the fact that My Oxford Year blatantly feels comfortable exploding emotional minefields for narratively unclear reasons clouds its potential success as a basic but inoffensive rom-com.

It needed something to make it feel fresh beyond dazzling visuals, but by stripping away much of what made the first film great, Pinocchio feels like the same old story, even if its fantastical elements shine onscreen.

Incoming has funny moments, and the young actors deliver their lines with the commitment of seasoned professionals every step of the way. However, as I was watching, I was endlessly reminded that watching Incoming's influences would have been more enjoyable.

Tipping and his co-writers have a lot of great ideas and thought-provoking commentary about the way we treat athletes, but the lead-up to an admittedly explosive conclusion doesn’t land. Wayans and the score seem to be doing most of the tension-building. It’s a shame the rest of the film couldn’t rise to the same level.

Carried by a generic story and uninspired performances, Behind You falls flat in its mission to terrify viewers with suspenseful mirror magic.

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.

There are minimal bursts of potential lurking in Chaos Walking’s messy execution, but it doesn’t deliver much but stagnant characters and dull action.

Vacation Friends 2 doubles down on the dirty jokes of the original and delivers.

It could've made for a sharp comedy, but there's an ickiness that overwhelms the whole movie.

The concept is promising, and the violent delirium of the movie's visuals show that this could have been a fun, adrenaline-fueled romp. Instead, it's just an unfunny comedy that leaves a bad taste in one's mouth.

The film is woeful from top to bottom.

The Curse of Bridge Hollow hopes to hide a clunky, unfunny script behind the veneer of a solid filmmaking apparatus, but it manages to test one's patience even at a merciful 89 minutes of runtime.

It's the right amount of romantic, funny, and thrilling, and it does what it needs to do to make its narrative feel less derivative and more dynamic and fun.

Jurassic World Dominion is a messy but fun end to the Jurassic Park sequel trilogy, bringing franchise themes, characters, and nostalgia full circle.

Full of repetitive flashbacks and constant yelling, Hillbilly Elegy strives to be the next great domestic drama, but falls short in several ways.

This is a terribly unfunny venture, which fails at the film’s only job.

Ice Road: Vengeance is an overall excellent action film, with all the qualities of a Hollywood blockbuster.

The Addams Family 2 is a shallow continuation that spends too much time on unconnected hijinks, resulting in an uneven sequel with much less heart.

Ultimately, Paranormal Activity: Next of Kin is neither a believable nor an entertaining film.

It may not be breaking ground in any major way, but Family Switch knows how to play within the absurd rules of a body swap situation, and it does so in an entertaining way.

Atlas is like an artificial sci-fi movie that walks and talks like the real thing, but just isn't.

Overall, Star Trek: Section 31 can best be described as a fun time. And if it sometimes feels a bit hollow, well, not every Star Trek story has to have profound commentary on what it means to be human.

Hill is willing to look critically at some of his industry's darkness, but he's also far too inclined to let his lead off the hook, and his film is weaker for it. As dark comedy, Outcome feels underbaked; as drama, it lacks sufficient introspection to have earned its emotional catharsis. Part of that is length: At under 90 minutes, the film is sometimes choppy and out of breath, and more time to flesh out its ideas might have helped it feel more tonally balanced. But no one change could fix a problem that's rooted in the vision for this material.

It reaches for the spiritual vastness of Cloud Atlas and the hushed introspection of Ad Astra, yet ultimately struggles to stir even the faintest flicker of emotion or hope.

It has plenty of logic gaps, over-the-top action, and is generally a lot of fun. Red Notice doesn't quite coalesce into something that could become a timeless classic of its own, but it provides plenty of entertainment.

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.

In The Super Mario Galaxy Movie, as in the 2023 film, surprise character cameos, nonstop gags and action, and references to 40 years’ worth of games that fly across the screen at 100 mph take precedence over plot, character development, and pacing. However, if you’re ready to turn off your brain for a little under two hours and bask in the impressive animation and countless Easter eggs, there’s a lot of fun to be had in this sugar rush of a sequel.

DeVine is entertaining enough, and the gag of watching Bronson and Barkin playing cool criminals can intrigue just about anyone. For all its flaws, The Out-Laws will win over those who flock to Happy Madison’s movies time after time, even if you'll promptly forget what you have watched.

More subdued than most Exorcist-inspired flicks, yet with a raw, vibrant edge that places the viewer into the action, Demonic offers more than the conventional possession story — but falls just short of being a thoroughly frightening film.

Offering no individuality of its own, Zone 414 barely manages to stay afloat with its oft-repeated tropes, which come to a listless, foreseeable end.

He's All That is a hollow Gen Z recreation of She's All That, lacking in charm and seemingly engineered as a vehicle to promote its stars' other work.

The Royal Treatment is ultimately benign fun. It is sweet, simple, and boring.

Much like The Mother, Trigger Warner is all setup with little payoff. The emotional sentiments are effective but drawn out in uninteresting ways, and Alba, a capable actress, is not nearly as charismatic as the middling script requires her to be.

The Eternal City struggles with finding the tonal balance between a child-friendly action-comedy and an adult-appropriate action-comedy.

Space Jam: A New Legacy is a fun family movie bolstered by a good heart and strong visuals that make up for a lack in originality.

The film is unable to sustain any tension and is seemingly afraid of its own potential for violence, despite gesturing toward the creative weapon choice that is practically a bar for entry into the slasher genre.

This Is Not a Test suggests a filmmaker content to operate within the familiar confines of the horror genre rather than push beyond them.

The only glaring flaw in Alone With You is its rushed final moments and ending, but it is not discordant enough to mar the genuinely uncomfortable scares and taut suspense it generates throughout.

The Kissing Booth 3 is overstuffed and overcomplicated, but provides some shallow summer fun as the final chapter to Netflix's teen rom-com trilogy.

When it comes to horror, sometimes originality isn't necessary; what's key are the scares, and how everything unfolds. Unfortunately, Tarot falls flat in the former category, and the latter isn't particularly engaging.

Slapdash to a fault, Coffee & Kareem is an irreverent time-waster that can't make up its mind about whether it's sophomoric or subversive.

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

The film is still very watchable, and it has a lot of heart that makes up for its overall lack of focus and certain emotional throughlines. But where cohesiveness and pacing are concerned, this sequel leaves a lot to be desired.

Home Sweet Home Alone is an unnecessary sequel that fails to revive the franchise, lacking the fun, charm, and magic of the 1990 Christmas classic.

Argylle is worth checking out for those interested, but don't expect it to be as good as Kingsman: The Secret Service, though it's certainly better than The King's Man.

What Lies Below offers a twist on two underrated sub-genres, but its identity crisis causes this aquatic horror creature feature to sink, not swim.

One True Loves may not be Reid's most popular novel, but its adaptation is nevertheless handled with genuine care. The soapy premise won't be for everyone, and its heavy-handed approach can alienate. Still, those willing to join Emma on this (mostly) complicated journey may very well find themselves charmed by the end.

Despite a fine performance from Jared Leto, Morbius is a painfully mediocre superhero origin story, delivering a shallow recreation of better movies.