Interceptor checks all the boxes in terms of making an action film that will grab the audience's attention, have one root for the hero, and let out a few chuckles (especially for one horribly done cameo) before promptly forgetting the movie exists.

While The Unholy Trinity allows its stars to shine, the cookie-cutter story drags this movie down enough that it's difficult to recommend.

Desperation Road glimmers with moments of beautiful clarity, but the big picture it paints doesn't live up to the promise of its individual strokes.

Despite the clever setup for this (almost) single-setting B-movie, some half-baked plotting and unfortunate stereotyping keep 7500 grounded.

The things that are wrong with Our Times make it too wild to pack a punch, but a better version of it certainly exists in one timeline or another.

The film is still very watchable, and it has a lot of heart that makes up for its overall lack of focus and certain emotional throughlines. But where cohesiveness and pacing are concerned, this sequel leaves a lot to be desired.

While it's a shame the movie around the cast doesn't quite match their efforts, it at least gives them just enough to keep Havoc from being a complete waste.

A couple more action set pieces would have also helped the pacing from growing too stagnant as, like its predecessor, Den of Thieves 2 is far too long at nearly two and a half hours. It’s bloated and, with nothing too exciting going on, the wait for the heist itself starts to drag. Despite some tension, there’s no real sense of urgency at any point. The film sets up yet another sequel, but Pantera lacks the passion and consistency needed to dredge up any genuine excitement for yet another film in a struggling franchise.

In The Super Mario Galaxy Movie, as in the 2023 film, surprise character cameos, nonstop gags and action, and references to 40 years’ worth of games that fly across the screen at 100 mph take precedence over plot, character development, and pacing. However, if you’re ready to turn off your brain for a little under two hours and bask in the impressive animation and countless Easter eggs, there’s a lot of fun to be had in this sugar rush of a sequel.

It's not outright terrible, but it's nothing to get too excited about, either. There's even a sweet subplot about mother and daughters and familial trust. It's an overall cute family movie and anyone who adores Diaz and Foxx will find a way to enjoy it.

With a stellar leading pair who make the most of the screenplay, Darby and the Dead has enough to keep audiences moved and laughing on occasion, though it is unclear whether it can bring viewers back for a rewatch. The only certainty is that Downs and Cravalho are great together and should have the privilege of leading more projects.

Kandahar won’t knock your socks off, but it offers a solid story that doesn’t try to be something it isn’t.

The film is overly long, dragging out its story unnecessarily, with Daniels haphazardly shifting focus away from Holiday constantly. The film is unbalanced, generally failing to center on the song driving the story while romanticizing an affair between Holiday and a FBN agent.

Endings, Beginnings favors style over substance, rarely igniting the spark its meant to and anchored only by a compelling Shailene Woodley.

It's a riveting film, but one that left me feeling hollow and ultimately frustrated with the continued way in which much of American cinema tackles crises like the one at the center of September 5.

William Tell is a rare movie that I would argue should have been longer. If there's any story that could justify a three-hour runtime, it's William Tell, and the pacing would have benefited from this length enormously.

It isn’t sincere or as inspiring as it believes itself to be, but it also understands what its aims are, and that self-awareness is worth noting.

It is heartfelt in its embrace of silliness, and for that reason alone, it is worth a watch.

As it stands, however, Spin Me Round is all over the place and even its best moments can’t be saved due to a muddled storyline and lack of character development.

It's a visceral experience, though it doesn't reach those epic highs because the romance, while it works on paper, doesn't quite materialize as expected.

The combination of crime film and romantic gothic horror never really gels. It is successful in its invocation of old Hollywood (including a very fun opening credits sequence), and its horror beats are effective, but it doesn't work in total.

It’s certainly not Ethan Coen's strongest film, though it is saved by an especially fantastic performance by Geraldine Viswanathan and a fun story.

Halloween Ends is a satisfying enough conclusion to the H40 trilogy and, overall, the three films provide the strongest Halloween sequel continuity of the franchise's twelve post-Halloween 1978 follow-ups. For that reason, even if Green rolled the dice (and lost) on an underwhelming central premise for Ends, a satisfying conclusion to Laurie's story from Halloween 1978 to 2022 was worth any missteps that plague Kills and Ends. Still, in spite of this, it's hard to ignore that Halloween 2018 set a high bar for Green's revival trilogy - a bar that was undermined by the following chapter and is barely improved in Halloween Ends.

Unwelcome is many things — entertaining is one of them. But with little focus on what actually makes this film worthwhile, the result is disappointing.

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.

It's an entertaining movie that also serves as a great showcase for Gadot's action chops, but it might not linger long in the memories of viewers.

Ultimately, Pain Hustlers is a mixed bag of entertainment that opts for flashiness instead of focusing on the important elements of the story at hand — the people affected by the carelessness of others.

While the Code 8 movie's premise is more interesting than its other elements, it's handled well enough to warrant further exploration. Code 8 works better as a proof of concept than a standalone sci-fi thriller, serving up fascinating world-building with a fairly basic story.