Lacking narrative direction and even pacing, Monster Hunter is yet another soulless video game adaptation that drowns in its own inadequacy.

It's a fun, but forgettable movie.

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.

It's an interesting idea, trying to base a story around the idea of wishing on a star, a concept that has been Disney's foundation for decades, but Wish struggles due to a weaker script. But I can't lie: I was charmed by Asha's story and the vibrant world she lives in, and that can make up for any flaws in the execution.

As a vampire movie, Salem's Lot is refreshingly old-school.

Asphalt City might falter at times, but seeing Cross try to adapt to all the things happening to him makes for an interesting watch.

It's a fresh and exciting take on a familiar storyline, with bouts of tension and energy. It raises the bar for crime thrillers thanks to the incredible cast and performances throughout. Eenie Meanie has something for everyone, with a thoroughly satisfying conclusion that stays with you hours after the credits roll.

While Senior Year has certain moments that are indeed funny, it’s not enough to overcome the film’s many flaws.

The film is an effective, thrilling, frightening horror, perfect for those who enjoyed Bird Box and are thrilled by the prospect of more.

Skarsgård and Benjamin make for an odd pair that work well together at every turn. The vision of Mohr is clear and realized, and the resulting work of art will excite audiences around the world.

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 there is plenty of fun to be had with the monsters and the buildup towards the final showdown, The New Empire’s story feels forced.

The Seven Faces Of Jane is an experiment that just does not deliver the right results.

Palmer is fantastic in a film that needed more depth and time for Alice to acclimate to her surroundings. Without that, it leaves Alice’s realism and emotional core lacking as it veers wildly into one-note chaos.

Fans of De Niro and the gangster movie will have fun with this addition to the genre, but they won't find anything new in its well-tread story.

The film makes up for some of the missed storytelling opportunities with its stylish, exciting action sequences, and its swift pacing, all of which combined make for a fun, overall enthralling time.

While it never reached the level of success of Dracula, Son of Dracula was still a great late addition to the Universal Horror catalog.

The Witches is certainly bolstered by its performances and visuals (which is to be expected of a Zemeckis production), and while its speedy story will win over young audiences, it could've reached new heights had Zemeckis, del Toro, and Barris dared to add a bit more padding.

Like many of Netflix's original movies, Kate feels like another release that had potential to be good, but falls well short of the mark.

A holiday film full of creativity, family, and fun, Hudlin’s Candy Cane Lane is a Christmas gift worth watching. Led by a talented leading duo, this adventure could be your next guilty pleasure.

Those willing to go along with Billy's patchy journey just might find themselves entertained by what this DC sequel has to offer.

It's a thrilling ride, and the fun the production is having with itself is contagious. There are moments of humor and necessary breaks in the tension that let us laugh and allow us to get braver alongside the characters.

The film does an outstanding job elevating its horror with a sprinkling of disconcertment, but it takes a wrong turn by offering a muddled message.

Already working with a shakily thin script, Jákl weighs his movie down with an overly self-serious aesthetic, to the point that even the target audience might find the two-hour runtime a tough sit.

With lots of tongue-in-cheek humor, first-time director Ives has delivered a movie that knows it’s a little bit ridiculous but just runs with it.

Something from Tiffany’s lacks a good enough script and the chemistry it needs to make anyone want to sit through another holiday rom-com.

The Super Mario Bros. Movie is chock-full of Nintendo Easter eggs—to the detriment of the story and its characters, which lack any real substance.

There needs to be a vision, an ambition to make something good and memorable. Ida Red, unfortunately, seems to fall into the trap of emulating better crime dramas instead of trying to stand out on the merits of its own story.