Despite their best efforts, though, Wahlberg and Berry's chemistry is never quite enough to fully lift The Union from being another mediocre Netflix action offering. The story is both far too simple and predictable, the worldbuilding isn't thought out enough to be believable, and the action isn't so exciting as to fully turn one's brain off and enjoy the decently paced journey.

The overarching problem is the film's tendency to be a touch too shallow, even if that's the point of the narrative. Finding out more about Hope's hidden past, the supporting characters, and the big lives everyone hints at would have made the story more compelling and helped the characters feel real.

There’s no denying this is a film capable of winning audiences of all types with its inherent charm, humor, and nostalgia. For me, however, this was 91 minutes of unfocused, chaotic energy that I did not enjoy. Tonally, the movie is all over the place, while its themes are explored with timid execution.

The rom-com idea was solid, strong actors like Hale delivered, and chemistry between the leads was there. This can go a decent part of the way, but without more character development, direction, and a clear focus for the film, it's hard to offer much in terms of praise.

Ultimately, Watchmen: Chapter 1 is a relatively promising start to this two-part adaptation of Moore's graphic novels, though it's brought down by familiarity, failure to surpass its prior adaptations, and a somewhat rushed pace.

Many times, the movie felt like a tonal jumble, even though both the heartbreak and the antics certainly serve the inspirational animal story genre.

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.

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.

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.

Somewhere between Alien & Aliens — fitting given its place in the timeline — Romulus serves up blockbuster-level action & visceral horror all in one.

The psychological thriller is clever, sharp, and intoxicating, even in its eeriest moments. There’s a charm and depravity that are all too real, hanging over every scene as it makes us wait with bated breath for the big reveal that comes in glimpses and acts as stark contrasts to the characters’ initial excitement.

For a story centered on childhood trauma, domestic violence, and the cycle of abuse, these themes feel like afterthoughts when they could have been its strength. It’s certainly lacking, but hearts were in the right place.

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.

The movie's atmospheric approach to horror sometimes works against it, but stellar performances from Dan Stevens and Schafer ultimately make it a home run.

Despite being flawed, though, Trap is thrilling at times and a ridiculous display of human behavior at others.

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 saving grace of the film all comes down to Jay Will’s breakout performance. Rob Peace simply does not work without him. Will’s charisma and dedication towards showcasing the light that Rob was offers a comfort to me that this film as a whole failed to provide.

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.

It's a testament to the care that went into this movie, the hard work of the cast and crew, and the power of the story itself that I left the theater both moved and inspired. This is a movie that will likely stick with me for some time, and I'm glad; I think it's not one that should be forgotten.

It’s compelling and held my attention from start to finish. The amount of times I genuinely gasped is enough to recommend it. It’s the perfect summer horror and one that will keep you on your toes.

This story isn't the flashiest werewolf tale, but it is worth seeing thanks to a fresh perspective. As flawed as the story may be, the story from a child's eyes offers a new and unique entry point for the subgenre.

Ultimately, Deadpool & Wolverine is a movie made to be a crowd-pleaser, and it succeeds in that respect. It puts the Marvel multiverse to work, using the concept in smart, economical ways to include references that run the gamut. It may not work for everyone, but after a few multiverse disappointments, Deadpool & Wolverine far exceeded my expectations.

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

The film manages to be a very straightforward horror, but the lackluster character work diminishes whatever good comes from its genre shift, and the shift is substantial.

Twisters is the kind of blockbuster the summer movie season was made for, and it proves sequels don't need to be beholden to what came before.

Tyler Perry's movies fall into many genres, but Divorce in the Black treads no new ground compared to his other dramas. Even in the film's most shocking moments, its narrative is part of a common formula.

Sisi & I wanders through its beautiful settings and complicated relationships with alternating ease and nervousness, showcasing surprising takes on these historical figures’ lives.

Lumina is an impressively incoherent film.

Layne's performance is a real strength, and she does a great job of not only anchoring us in her character's emotions, but embodying how she feels about singing in any given scene.

The Convert is by far one of Tamahori's best films in years.

Using her face alone, Monroe shifts from morbid curiosity to abject terror and emotional devastation, culminating in a killer final shot that encapsulates what's so unnerving about the movie. Sometimes fear doesn't immediately register — it can be a seed, planted and cultivated over time and, once a full bloom settles in, it's hard to shake the fears that grip you.

This is the kind of movie I'd like to see more of, the kind that wears its heart on its sleeve and takes us on a ride. A meandering ride, sure, but even a long trip can have its perks.

This zombie horror that sees Lundgren’s tough mercenary lead a crack team of gamers into a zombie-ridden city is nowhere near as funny as that description may sound, playing things disappointingly straight and making for one of the actor’s more forgettable outings.

Aliens Expanded is a treasure trove of love and devotion, balancing things as broad as the very idea of fandom, and as specific as precise dissections of key scenes.

Thanks to the movie's skillfully executed and relentless action and a couple of major twists, Kill largely overcomes its few hurdles to be an absolute thrill ride.

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 return of Axel will satisfy fans of the franchise, and it might encourage those who are just tuning in to watch the original trilogy, if only to watch one of Murphy’s most significant roles from the 80s, a true golden era for the multi-hyphenate entertainer.

The movie's brisk pace keeps the cracks between the various plot threads from showing initially, but upon further inspection, it's clear Despicable Me 4 has so much on its mind, it's forgotten some of what makes the franchise so delightful.

Any one of the stories in A Sacrifice would be worthwhile to follow, but as it were, we only get a taste of each, and it's just not enough to make the ending satisfying. What is portrayed as horrific and tragic becomes melodramatic and arbitrary.

The Devil's Bath is bleak but well worth the watch, especially if you like being guided down Franz and Fiala's dark, twisted rabbit hole.

The Vourdalak is an indication of where modern horror movies should be headed. I was moved not by the gruesome violence of the story but by the devastating tragedy akin to a Greek drama. The Vourdalak doesn't need graphic cruelty to get its point across, as the movie and filmmaker understand that there is even more devastation to be found in the dark.

While it does succeed in creating a bizarre atmosphere that captures plenty of simmering tension, it's trapped between being a proof-of-concept short film and a feature-length effort.

Luckily, Johnson and Penn's compelling dynamic keeps us hanging on, right up until the moment they part. That final beat could've been shorter to make more of an impact, but that doesn't lessen the satisfaction of the journey overall.

I Am: Celion Dion is a compelling and engaging snapshot, a visceral experience that is worth watching, especially for fans.

While it has its weak spots, A Family Affair holds together well enough to entertain.

Unfortunately, the film doesn’t invest in its characters or in its world beyond the surface, so why should we?

MaXXXine may have taken a little longer to hit theaters, but fans of horror can be assured that it is well worth the wait. The best part is that newcomers can enjoy it as a standalone, but watching X and Pearl beforehand exponentially enhances the experience, creating a nearly perfect sequel.

It’s a nuanced role that Banks absolutely nails, capturing Liz’s experience in a way that makes us feel all that she’s going through.

An intriguing blend of genres and themes, The A-Frame fulfills its promise to excite and entertain even with its mishaps.

Awkwardness knows no bounds here, and the kooky comedy has enough steam to carry it all the way through to a lovely ending.

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.

If the lazy scripting and oversaturation of identical scenes were not enough, Blackwater Lane also lacks any sense of novelty.

The script is caught between wanting to be a full-blown horror movie and wanting to be a tense psychological thriller.

Every moment is purposeful, every conversation sharp; the actors and the direction say more than what is on the surface.

Pitch-perfect performances elevate this magnificent film that I can’t say enough good things about.

Rent Free doesn't veer too far into dramatic territory, but when it does, it feels earned, a sobering moment that snaps the blurry edges of our protagonists' perspective into crystal clear view.

It’s masterful in developing a gnawing suspense that permeates the film, and never falters in engaging us from start to finish.

Croke's script seems content with delivering reality-questioning thrills rather than offering anything meaningful to keep audiences thinking beyond the movie's 90-minute runtime, or even within it.

Ride is an enthralling movie about the lengths a family is willing to go to protect one another, tugging at the heartstrings and leaving an impression long after the credits roll.

Despite being a story about a world full of imagination and incredible adventures, the narrative moves slowly, hoping to succeed thanks to the animation.

Adult Best Friends certainly has its heart in the right place and it can even be quite funny and lovely as it navigates the characters’ friendship and its evolution, but it’s also overstuffed with unnecessary characters and subplots that don’t add anything to the core relationship beyond distracting it from being deeper.

Gradually, everything becomes burdened with story. The more the triangle of Kathy, Benny, and Johnny is played up for drama, the less interesting it becomes.

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.

Baker's familiarity with the area gives Janet Planet a distinct sense of place and Baker an assured way with the camera, but there's also a universality to it and to the film's central pair that helps it transcend to something even more affecting.

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.

Despite its vast scope, the intimate and always welcoming Power of the Dream manages to feel both timely and timeless.

It proves to be a fulfilling and heartwarming journey.

It’s a deeply symbolic and, at times, flawed film, but Tuesday is filled with love, heartache, and pain.

Punctuated by heart-aching moments, Stalter’s performance puts her comic star power on full display, reiterating the actor’s excellent comedic timing.

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

There are great moments in the quiet of Treasure, the scenes where director Julia von Heinz's camera lingers on a look, an item, or a landscape. But Treasure finds itself stuck in the middle of these tender moments and a heavy-handed way with emotion that has good intentions but doesn't land the same.

Melding gut-wrenching body horror with unique parallels between puberty and transformation, writer-director Amanda Nell Eu's feature debut is thoughtful and intriguing, even if it doesn't fully soar.

Inside Out 2 leans more towards greatness than redundancy & though it falls short of being one of Pixar's best, it's a worthy addition to the library.

Grassland might not be revolutionary, but if it's a signal of where the next generation of filmmakers is heading, we're in safe hands.

Ezra is heartwarming and funny, but it just never quite manages to reach the level of profound insight that its story seems to strive for.

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.

What You Wish For posits that the cycle of working for an evil, self-righteous entity never stops.

Krieps has such a clear vision of who Vivienne is when she isn’t the object of romance, violence or intolerance. Her quirks and quiet dominance ultimately shift the film toward the direction Mortensen thought he was headed.

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.

Fortunately, Haikyu!! The Dumpster Battle is a more than worthy follow-up to the original anime, with its writing, animation, and overall direction being as great as the anime’s, if not greater.

East Bay is the type of movie to be loved and cherished by introspective soul-searchers who maintain their optimism in the face of the soul-crushing nature of modernity.

While Longing was aiming for poignancy, it unfortunately landed on preposterous.

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.

Bad Boys continues chugging along with Ride or Die. Watching the sequel reminded me a bit of the Fast and Furious franchise — it tries to go bigger than before, while also maintaining its core relationships as a key to its success.

An obvious inspiration pulled from experiencing losing his wife Carolyn to cancer, Cronenberg delivers a subdued horror film on grief, which feels unlike any of his previous works.

While dissecting the world’s ridiculous beauty ideals, Fargeat directs her sensational feat with pungent audacity, fearless humor, and dysmorphic body horror.

The characters are animated with such clarity of expression, and the film is edited so expertly, that lines just aren't necessary.

The film keeps things simple, but it shines like a lighthouse in the darkness nonetheless.

Anora is a lovable tale of rags to riches that comes exploding with chaos, hilarity, raunchiness, and a stupendous performance from Mikey Madison.

A harrowing narrative that contemplates the transition from girlhood to womanhood, Arnold uses magical realism to capture preteen angst with a strong desire for existential freedom.

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

The sparsely populated funny moments don't make up for the lack of craftsmanship in the story's journey.

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.

Yorgos Lanthimos’ Kinds of Kindness is a melting pot of anthology narratives that callously spotlight our desperation for affection and acceptance.

With sincerity and style, Schrader offers a thoughtful film about life and legacy.

It's commendable that the narrative never tries to explain the magic system of the world or bring up questions of potential paradoxes. However, it equally avoids questions about the nature of consequences. Without any real stakes or time crunch, the story builds and builds, but ends up going nowhere.

A highly restrained examination of multiple topics, The Second Act is a film about everything and nothing all at once. Perhaps in line with Dupieux’s style, the surreal, dark humor and commentary produce a messy end product that overstays its welcome.

With the documentary Amy painting a more detailed and intimate portrait of the singer’s life, it’s hard to recommend such a stilted, unimaginative biopic that doesn’t do Winehouse any justice.