There's something comforting about the way in which My Fake Boyfriend doesn't try to reinvent the wheel. It's content living in its charming version of New York where everything works out in the end.

Despite a solid performance from the film’s lead and an interesting character arc, Rounding winds up getting a bit lost in all it’s trying to accomplish.

When its focus is on Agatha Rousselle’s Alexia and the lack of control she has over her own body, Titane digs a bit deeper. However, the film’s true weakness is in its inability to explore Alexia as a person, keeping things vague while centering the extreme body horror aspects.

While it has entertaining moments, Black as Night isn't very balanced and the overall lack of levity ultimately makes the film a slog to get through.

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.

The best parts of Mother of Flies are in the margins. At its most lucid, it tells us that life, death and healing are magic — both of the Western and witchy varieties.

They/Them is impactful for its reason for existing and the excellent ensemble cast that deserves to shine. The film is not unwatchable; it is merely without excitement. Satisfying as it is for the film to directly take aim at dangerous institutions, there is sadness in knowing this horror couldn't find a happy middle.

Compared to other, stronger animated films, Spellbound sits comfortably in the middle. Kids will likely be delighted with it — though at nearly two hours long the wait to get to the end might be a struggle — and it offers just enough for them to keep watching.

Despite some genuinely funny and endearingly nostalgic moments, Coming 2 America attempts to do way too much with its plot rather than keep it simple.

The Last Voyage of the Demeter fails to deliver on its early promise of being a compelling horror experience. The focus on jump scares and a skeptic character detracts from the potential scares and fails to bring authenticity to the storytelling.

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.

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

The film did not nail it in many regards, but it is a truly entertaining tribute to queer pop and obsessed fandoms. Queens of Drama is, in the end, a delightful hot mess.

While Bloom and MacDowell anchor the film with their strong performances, leading an ensemble cast that is foundational to this rugged Western, the score by Mondo Boys and cinematography by Johnny Derango do a lot to embed the themes and concepts into the atmosphere of the film.

Being halfway between film and TV gives it the weaknesses of both and strengths of neither; trying to straddle the real with the mythic gives us characters that mostly feel too representative to connect with as individuals, and too individual to make compelling representatives.

Bloodshot puts a surprisingly clever spin on the superhero origin story that's fun and funny, but Diesel's performance ultimately leaves it lacking.

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

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.

Instead of being the next John Wick, Nobody plays out more as John Wick lite, which could be disappointing for some. It's fun to see Odenkirk try something new at this stage in his career, and Nobody clearly knows what it is and never takes itself too seriously (see: the moments of levity, the soundtrack full of licensed classics). Still, these merits don't truly help elevate the final product beyond fleeting entertainment.

The film is far from perfect, but also does not attempt to be. Accents aside, the jokes are solid and don’t require a great plot to land. Quasi won’t blow anyone away, but it has its moments.

Despite the film's underwhelming and bizarre story developments, French Exit will remain memorable for Pfeiffer's performance alone.

While the film’s leading cast gives fantastic performances, Four Good Days lacks focus and fails to expand upon its emotionally powerful moments.

For all its stylized flourishes and raw performances, True History of the Kelly Gang's confused narrative prevents it from fully taking off.

Kaiju No. 8: Mission Recon meets fans and newcomers right in the middle, and the resulting movie is for everyone. Overall, it's a summation of one of the best animes out right now, and if you want to prep for season 2 and are short on time, it's serviceable.

The film attempts to deliver an emotional, compelling, and entertaining story, but it struggles with balance despite some lovely, uplifting moments.

Ultimately, Brechin appears less interested in crafting a vicious aquatic thriller than in condemning the cruelty of animal captivity. While Killer Whale succeeds as a somber meditation on that subject, it falters as a survival film, offering too little spectacle, tension, or invention to justify its genre trappings.

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

Co-writer/director Ryan Prows has assembled a star-studded cast, some of whom wonderfully elevate their potentially one-note characters into intriguing figures, and its base structure of corrupt cops being vampires is one rife for tackling the very real issues of police corruption in the world, yet the mix never quite comes together.