The Flash is a passable multiverse superhero movie, but no amount of DC cameos can make audiences forget the awful off-screen actions of Ezra Miller.

Uneven yet sincere in its execution, Sergio combines simplified political melodrama with a tragic love story powered by its leads' performances.

Though the script is not spectacular it has its moments and a realistic tension that cannot be ignored.

Riddled with uncomfortable dialogue, audacious sequences, and a piercing score, Club Zero has all the ingredients to become a future cult classic. It’s for a great reason, too. The film contains a terrifying yet wonderful performance from Wasikowska, it includes brilliant commentary on the dangers of following blindly, and it provides great entertainment.

A Perfect Pairing may not stand out to most, but its wholesome aura, charming leads, and beautiful cinematography is enough to warrant an enthusiastic watch. If the goal for any romantic comedy is to fill one with that particular, indescribable warm and fuzzy feeling, then A Perfect Pairing accomplishes that.

Despite some of Bunnylovr's shortcomings, Zhu has a knack for filmmaking, and it's an exciting debut for the young artist.

The Prom is a bright yet flawed musical extravaganza that, while holding a vital message about acceptance, sometimes gets lost in its own celebrity.

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.

The story is just so rushed, there’s barely any time spent on establishing the world we’re introduced to before it’s full-speed ahead.

Ultimately, it is a gorgeous film that's empty inside despite all of its interesting ideas and good intentions.

Ultimately, The Eyes of Tammy Faye has to compromise its story with real events, and at least it gives Tammy Faye a celebratory note to end on.

The incomparable Daniel Giménez Cacho stars as Silverio Gama, giving an unforgettable performance that captures the intensity of the film’s concepts. While everything doesn’t always work in Bardo, Iñárritu takes his time painting a visually scrumptious tale even though it’s overly saturated with style over substance.

Kindred is packed with significant talent, but the slow pace and tedious script leaves the audience looking for the exit before the movie gets going.

The Adam Project is a charming and fun sci-fi throwback, fueled by a strong script and one of Reynolds' best performances.

Infused with a sharp exploration of the immigrant experience in America and a smattering of such high school tropes as mean-girl cliques and prom queen competitions, the movie is a wonderfully bonkers ride.

Along for the Ride captures the magic of young adulthood and first love, delivering a relatable coming of age story with a sweet romance.

The plot of the movie works, but the dialogue definitely does not. The style is fine, but the tone is lacking. The Sacrifice Game is a film with the potential to be something cool and eerie, but the final product doesn't live up to that.

Though it risks a slip into fully formulaic territory at times, the new movie is building to a far more interesting endgame than it appears to be, in which all the fleshing out of Cenobite lore and mechanics actually amounts to something quite profound.

Maggie Gyllenhaal's second feature is an explosive representation of social disruption. A screaming cry of a film, The Bride! utilizes its literary and filmic influences - Hamlet, Romeo & Juliet, Bartleby, Bonnie & Clyde - to belt a clarion call against upper-crust hedonism, police complicity, violence against women, and the patriarchal system that binds them all.

It doesn’t always capitalize on its strengths, but Don’t Make Me Go is a journey worth taking thanks to fantastic performances from its two leads.

It would be unfair to assign blame to any one performance, or even to Winslet's direction, when the script is the obvious culprit. Story or character hurdles are thrown up and surmounted with the same neatness, sapping them of their impact. The movie becomes so certain of its footing that the two-hour runtime starts to feel like a chore.

Wander, the latest collaboration between director April Mullen and writer Tim Dorton, straddles the thin line between paranoia and truth, yet emerges as a compelling thriller with a genuine thirst for exposing what lies beneath.

Upholding genre tropes whilst subverting them, Son is an unsettling fever-dream drenched in unspeakable acts that leave viewers on edge until the end.

The fashion alone, from design supervisor Stefano De Nardis and the costume team, elevates the film, turning it into an extravagant spectacle.

The story is very high concept and the tone is completely aware of itself, leading to a truly enjoyable experience

Black Crab is a little long, but the movie is too cool to notice.

It’s rare for a final film in a horror franchise to deliver character development, a chilling story, and a satisfying ending for the characters. The Conjuring: Last Rites does all three. As a farewell to the Warrens, Chaves balances the terrifying with the heartfelt to great effect.

Much like its main character, To All the Boys: P.S. I Still Love You is so sweetly, openly earnest in its love of love that it transcends cheesiness and gives viewers permission to indulge in unabashed intimacy and romance for its entire one hour and 40-minute runtime.