After nine years, Aaron Taylor-Johnson returns to Marvel superhero fare, but while Kraven the Hunter has potential, it's a middling origin story.

Scream 7 injects nostalgia and self-referentiality like a weak drug, a stash of weed purchased so long ago it has gone so stale it crumbles to the touch.

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

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.

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

The story has no heart, genuine romance, or humor, the spy subplot is mechanical, and the actors don’t mesh together as well as you might expect. All told, Ghosted doesn’t even meet the lowest standard for what would make a romantic comedy remotely decent and that is disappointing considering the talent involved.

Its leading ladies are in fine form, as always, and they're backed by some lively performers. It's the story that struggles to come through, along with a reluctance to just let loose in every way possible.

There's lots of bells and whistles, but in attempting to deconstruct and reconstruct Christmas spirit there's just never enough charm to carry the spell.

The process of searching through all manner of cloud-based applications and information in a video-game-like manner is a tantalizing prospect, one just wishes it wasn't done for something so harebrained.

For fans of Murray's career, The Merry Gentlemen gives the actor another chance to shine in an otherwise unremarkable movie.

Most of all, the movie reaffirms the fact that we still don’t have the iconic, big-budget Hart movie his career has been working towards.

Despite featuring tense chase and gore sequences that are fairly well-made, Texas Chainsaw Massacre butchers Leatherface's legacy in the dullest of ways.

Secret Society of Second-Born Royals is pure family-friendly fun, combining princesses and superheroes for a delightful, if unoriginal, adventure.

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 film is ultimately an action comedy that is as sickly saccharine and over-the-top as Valentine’s Day itself. For a cool hour and 23 minutes, Love Hurts allows us to enjoy every minute of its absurdity, and you’ll never look at a boba straw the same way ever again.

Uninspired in terms of narrative ingenuity, Sacrilege mimics cult horror tropes with detached superficiality, failing to either scare or compel.

As far as middling entertainment goes, Five Nights at Freddy’s fits the bill.

The film's dialogue is insincere and cookie-cutter, failing to deliver naturalistic character growth. And surmounting its inefficacy at simulating humanity is perhaps Old Guy's most glaring action movie sin: it's truly boring.

Perhaps the lesson of the film is that regret is a waste of emotional bandwidth, but regret is easy to feel when the story is a fumbled as this.

The Tiger Rising is too serious and abstract for kids yet too ham-fisted for adults.

It’s a difficult film to take seriously, as it buries its potential in absurd drama, dialogue, and sequencing.

Killer Heat delivers something new and refreshing that deserves to stand out for its creativity and clever storytelling.

There's a real sweetness at the center of the film, but Like A Boss surrounds that heart with middling raunch comedy.

For what it is, and for who it is for, Redeeming Love is in its own way an effective showing of the power of love. Undoubtedly, however, a more compelling romantic drama about a woman finding peace with herself could have been told.

In spite of its shoddy sound design (Hooper, as he did with Les Mis, has his cast sing live, but their vocals are poorly blended with the instrumentation), Cats' actors are perfectly matched to their respective roles.

The cast does a lot of the heavy lifting in the film, which evades exploring the characters' trauma. The emotional drama is a vehicle fueling a messy story in a film primarily concerned with elevating the mystery that so easily unravels by the end.

Sadly, this adaptation fails to stand out from all the other sci-fi horrors about people being used for experiments. It doesn't even compare to the original 1984 film nor does it stand tall alongside great recent Stephen King adaptations like 2017's IT and 2019's Doctor Sleep. Firestarter is more like Pet Sematary and Carrie, a dull, exhausting remake that doesn't do anything new.

Reynolds has made a name for himself with fun action movies and, though this isn't necessarily his strongest or most successful franchise, it does deliver laughs and an exciting ride despite Michael Bryce essentially being the same character Reynolds has played countless times before. Even if Hitman's Wife's Bodyguard is absurd, it makes for the big, dumb fun movie experience perfect for the summer season.

There could have been a lot to love about The King’s Daughter, but it seems the creative team simply did not know what to do with it.

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

The script has its moments, and I chuckled a bit at a few points. But what the film lacks is genuine heart and warmth.

At times, it feels as though The Garfield Movie is going through the motions, and it fails to offer anything particularly noteworthy about its main character.

Director Chuck Russell’s projects always bring a sense of vivacity and killer action sequences in ways his peers often struggle with. But this time around, the magic is missing from Paradise City. Sure, his film contains reliable and entertaining components like most action features do — including an underlying vengeance plot, an expert conman, and even a budding romance — but these elements tend to quickly run their courses thanks to a predictable script, wonky dialogue, and pacing issues.

Memorable? Hardly. Entertaining? Somewhat. Ultimately, the film will resonate with the people eager to devour more Stephen King-inspired projects; sadly, there is nothing genuinely inspired to enjoy.

What could have been a thoughtful, poignant story about loss ended up being an unfortunate misfire.

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

A movie that means well, looks solid and is brimming with acting talent, but has neither the script nor the soul to bring home the bacon.

It's a pleasant film that showcases its talented cast, and while it may not be groundbreaking or innovative, it at least offers amusement.

The Ice Age Adventures of Buck Wild is the sixth movie in the Fox animated franchise, and it is easily the worst entry in the series so far.

The script is far from perfect but if one squints, there is occasional fun to be had.

While The NeverEnding Story II: The Next Chapter is lacking compared to the book and first movie, it's still an entertaining kid's adventure.

The lingering lesson in all of this is Megan Fox deserves better and Big Gold Brick is a solid turd of a movie.

It is easy to see the potential in the first act, but Purple Hearts leans too much into over-sentimentality, with narrative tricks designed to trigger tears and subdue thinking.

The dynamics needed to be defined better, and despite some compelling filmmaking, the flagrant disregard for characterization reduces Fear The Night to a mildly tolerable home invasion horror.

Hurry Up Tomorrow isn’t awful. It stays at the surface, really afraid to interrogate any deeper than required, but it has its moments and aesthetic flair.

Poolman is an unfunny spoof of neo-noir thrillers with hazy direction, even messier storytelling, and unbearable dialogue.

Some adaptations, it seems, are far less equal than others.

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.

Dangerous is an action movie with a unique premise, but its poor writing, stiff acting, and lack of charm make the 2021 movie borderline unwatchable.

There is nothing remarkable or special about Blacklight — it's fairly empty, a boilerplate series of dialogue, action, dialogue. However, it is fun to witness Neeson do what he does so well and lose oneself in the thrilling familiarity of hand-to-hand combat and shootouts.

Winnie-the-Pooh: Blood and Honey 2 shows a better grip on its overall tone and character development than its predecessor.

Shattered is a poorly-acted home invasion tale with laughably predictable twists, amping thorough frustration in viewers by dragging on to no end.

Assassin Club has the benefit of starring a relatively well-known actor, but even Golding can't save this movie from its mediocrity. Any hope Assassin Club had of being good is squandered within the first ten minutes.

It's fun enough to keep audiences mostly entertained for its hour and 45 minute runtime, but there's nothing particularly memorable to latch onto - not the CGI animals, not the fantasy world and not even Downey Jr's performance.

Blanchett knows exactly what movie she's in, and she seems to be having the time of her life fitting herself into the mold of a video game heroine.

While there are a few jumpscares during the family's stay in the farmhouse, the film is more geared towards evoking a feeling of uneasiness than truly frightening us.

Madame Web is boring, unimaginative and dated, despite being one of very few superhero movies centering on female superheroes. All in all, Madame Web is a superhero movie you can absolutely skip.

It’s fraught with frenetic energy and delightfully charming performances, but Blithe Spirit is not as funny or absurd as it sets out to be.

The film tends to bite off more than it can chew, and the end result is a colossal disappointment.

The dialogue is clunky and almost universally awkwardly performed, much more so than in the first movie. The tonal mix of horror and silliness feels more jarring than complementary, and the filmmaking, which could accomplish so much just by sticking to genre fundamentals, is often egregiously sedate.

It's rare that a film is this devoid of characterization, rarer still that a serial killer horror is this lacking in tension.

This film has everything that makes a disaster film as an actual film disaster. With unconvincing effects, bland performances and a convoluted story, When Time Ran Out… is a dud, critically and financially.

Me Time may not be a groundbreaking entry into Netflix’s catalog, but it offers reliable laughs for anyone needing an escape from their own hectic reality.

Although the film's narrative is passable at best, it struggles to maintain any momentum due to uninteresting characters and predictably bad writing.

Die in a Gunfight is utterly empty, with poorly developed characters, clunky dialogue, and a disingenuous romance that attempts to be epic in nature.

This shocking horror comedy is a train wreck that you can’t look away from. Whether the filmmakers intended this to be the case is a question on its own, but I’m sure Krazy House will acquire a following.

We’re only halfway through the year, but I wouldn’t be surprised if Bride Hard ends up being the worst movie of 2025.

Alarum fails on all counts, and the few positives aren't successful in bringing the movie out of the gutter.

If you've ever wondered what a remake of PrettyWoman written and directed by Guy Ritchie would look like, then Duchess (2024) is the film for you.

Replete with atrocious visual effects and sound design, Vanquish emerges as a ghost of an exciting action thriller with a tired, deadpan storyline.

There's a sense of respect for both the L.A. gang codes and Latinx cultural traditions on display, but they're let down by the the film's plot and characters. Combined with Ayer's continued storytelling missteps, The Tax Collector amounts to a lot of blood and brutality without the soulfulness to match.

The Babysitter: Killer Queen is junk food entertainment at its most mediocre, delivering barely enough blood and fun without anything truly memorable.

Asking For It is a pop-rock take on the revenge thriller that tries to take a stance, but fails to make a case for why it exists. Asking For It often feels like a mansplaining version of what a modern revenge thriller should be.

Nearly everything Ritchson and James do in the name of comedy is forced and untethered from reality. Then again, so is the movie, so at least it's consistent.

On a Wing and a Prayer will certainly find its audience and pays respect to a man who did the impossible, but as a viewing experience, it misses the mark at every turn.

The only thing Harlin has done here is to remove the element of surprise. Without that, the film is nothing, nothing at all.

After We Collided is riddled with cliches and tired young adult tropes, but its dramatic romance and laughable dialogue offers some escapist fun.

Lumina is an impressively incoherent film.

Jump Shot is an important basketball history lesson, shining a light on one of the game's unsung heroes who deserves more recognition.

The Silencing is a decently exhilarating thriller movie, even if the twists in the story aren't always well-earned or well thought out.

Despite featuring a few well-executed, tense gore sequences towards the end, Smiley Face Killers is mostly uninspiring and makes for a tedious watch.

Breach has its moments of B- movie fun, stemming more from utterly ridiculous execution than a sincere effort to create a gripping space horror.

The Ultimate Playlist of Noise has some lovely and heartwarming moments, but it lacks a strong central relationship and is often too formulaic.

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.

With no buildup, tension, or interesting characters, The Sinners fails in its execution and exploration in the themes it puts forth.

Lacking narratorial depth, convincing characters, and a plausible storyline, Curse of the Blind Dead utterly fails the original tetralogy on all ends.

Rooting itself in nuanced tech-noir, The Tangle unfolds into breathtaking lyrical poetry about human ambition and “the caverns measureless to man.”

It’s a passion project that, while evoking emotion in the wake of grief, could have used some more editing and fine-tuning for a better and smoother journey.

Unevenly paced and with few laughs, Love Spreads fails to tell an engaging story and focuses too much on underdeveloped, unlikable characters.

After We Fell is the pulpy, melodramatic and messy continuation of Tessa and Hardin's story that may appeal to diehard fans, but no one else.

Lair could have been a solid entry in the horror genre had it not been hindered by a muddled narrative and sub-par execution, which only leaves the viewer wishing for something far more substantial than what was given.

Too little attention is granted to Apex’s world-building, and the sci-fi aspect of the film seems more of an afterthought rather than an active factor, making the film a terrible, mediocre letdown.

Despite its potential, A House on the Bayou has nothing new or interesting to offer, with the final twist further undoing the film's scattered charm.

No matter how ridiculous the plot, and no matter how super Christmas-y these films get, Hudgens will remain the steadfast north star.

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

Mixtape feels familiar and new all at once thanks to its earnest story and central messages of family and grief that will touch viewers of all ages.

A genuinely gritty premise paired with a 90-minute runtime is typically a recipe for success, but The Last Son never becomes the movie it's capable of being.

The film is very pleasant and manages to succeed in what many romantic comedies often fail to do — be entertaining and worth revisiting.