There are a few lingering plot lines in need of more attention, but overall everything put to the screen makes up for any of Divinity's shortcomings.

From a horror perspective, the film is lacking, but it more than makes up for it with well developed characters and a killer who preys on secrets.

Despite Foe’s shortcomings, it has plenty of heart and something to say. Its visuals are magnetic and Ronan and Mescal give their all in gripping, emotional performances.

Wedding Season may appear to be another Hallmark-esque romantic comedy from Netflix, but it is actually a delightful endeavor that will warm the hearts of its viewers.

The standouts are certainly more on the technical side, with Elisha Christian’s cinematography, Will Bates’ score, and Mohan’s close-ups. Then, there’s Sweeney, who, without a shadow of a doubt, convinced me of her acting skills thanks to what she was able to accomplish through her emotional and physical performance.

All one can hope to get is a colorful and exciting adventure that allows the characters’ personalities to shine. Rise of the Teenage Mutant Ninja Turtles: The Movie succeeds in that regard.

Because of some questionable decisions, the film's key messages aren’t as effective as they could be.

This is a purposefully languid movie that proves real, genuine tension can be built without crash landing right on your head. In an era of fast cuts and escalating explosions — the kind that Hemsworth, Ruffalo and Halle Berry all know intimately from their time in Marvel's universe — it is refreshing to watch something this confident in its own particular DNA.

Onward is a good, but not great Pixar movie, with a heartfelt, if emotionally manipulative storyline, and plenty of film magic to propel it forward.

With the help of a fantastic ensemble, including a short but impactful appearance by Veep's Timothy Simons, Shortcomings will have audiences thinking as well as laughing after the credits roll.

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 Red, White & Royal Blue is a little too light on laughs, its central romance follows the book closely enough that die-hard fans will be pleased and casual viewers will be able to find something to love.

Better Nate Than Ever is full of charm, supportive friendships and familial relationships, and a passionate love of musical theater and these elements work together to create a lovely, entertaining viewing experience.

The Rhythm Section is wonderfully acted by Blake Lively and immersively directed by Reed Morano, creating a tense and mostly engaging thriller.

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 bottom line: even with some inconsistencies, Drugstore June is funny. It creatively approaches a deceptively ambitious setup and doesn't overstay its welcome.

With the exceptional performances from the cast and several laugh-out-loud moments, this creative film is wildly entertaining.

Moxie has some heart and teeth as its Riot Grrrl-inspired teens smash the patriarchy, but it's more love letter to Gen X than a call to arms for Gen Z.

It's more effective as an action-comedy about Mike and Marcus struggling to figure out what they want in life (now that they're facing north of fifty) that a reflective drama about Mike coming to terms with his traumas and mistakes, if only because the latter plot thread tries to build on a foundation that, frankly, was never really there in the first two Bad Boys movies.

While The Gorge is (ironically) fairly shallow, it offers some strikingly designed genre thrills and is powered by two charismatic stars.

Even if I didn't quite love the film, I can't deny I hope it inspires more to take the same bold risks Hernandez and Stephens did.

Thought-provoking, beautifully edited and told, Sirens explores the band members’ relationship with each other, gender, and conformity in a society that isn’t always open about such things.

It’s a fascinating story to balance, and though it doesn’t always work, Finley really runs with the concept and its various themes. It’s safe to say there’s never a dull moment in the film, and it isn’t predictable in terms of what comes next.

Tankhouse might not be for everyone with its outlandish humor, but if viewers are willing to invest in the absurdity, then it's worth watching. Tomaschoff has clearly created this movie out of respect for anyone who has loved spending time in the theater, and with a game cast ready to shoulder the material, it becomes something very sweet underneath all the quirk.

The Willoughbys is a mishmash of story ideas strung together by the idea of found family, but it's cute and quirky enough to keep viewers hooked.

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.

The most interesting and beautiful piece to this puzzle is the fact that Dillane's performance can steer the audience in any direction emotionally and at any given moment.

Garner's performance is the heart of this, and if the movie were told entirely through her eyes, I think you'd have the compelling layer of doubt that the film sometimes seems to want.