The One and Only Ivan has a good heart at the center of this mediocre animal tale, which never quite delivers on the requisite Disney magic.

Despite a compelling first half, False Positive fails to imbue the pregnancy horror trope with depth or ingenuity, accelerating to a banal finish.

More subdued than most Exorcist-inspired flicks, yet with a raw, vibrant edge that places the viewer into the action, Demonic offers more than the conventional possession story — but falls just short of being a thoroughly frightening film.

A great cast and patience will prove only somewhat rewarding, even if the journey to get there is shaky and more than a bit confusing.

A harrowing narrative that contemplates the transition from girlhood to womanhood, Arnold uses magical realism to capture preteen angst with a strong desire for existential freedom.

The film is at its best, visually and narratively, when it is deeply entrenched in metal. There is a visceral impact to the third act which truly hones in on what this film has been lacking from the beginning.

Fear Street Part 2: 1978 is a fun enough riff on 70s slashers, but works better as the middle chapter in Netflix's horror movie trilogy.

The material is not lacking in thematic depth, but how the filmmakers choose to express these themes makes for an inconsistently engaging experience. Dreamin' Wild is sometimes too caught up in its own artfulness, and all that weighted form ends up trapping its ideas rather than giving them heft.

Reptile gets an extra edge thanks to its rock-solid cast and sufficiently gripping mystery, but it never coalesces into anything incredible.

Despite a few strong aspects here and there, Inherit the Viper is more or less a fleeting entry into the crime genre that won't stick out in viewers' memory after the credits roll.

Rather than being a well-rounded look at Martin's life, Christy offers a shallow, unbalanced perspective. It's light on its feet in some parts and heavy-handed in others, and though Sweeney gives a strong performance, I can't help but feel like she deserved a better showcase for her talents.

She Dances seems almost scared of its own premise.

Sure, the film may feel somewhat tepid in places, and it meanders, but the overwhelming wholesomeness of the picture will make one embrace its simplicity.

Even while Thorne's performance proves effective enough to keep us attached to her story, the rest of Saint Clare's cast fails to attain the same feat.

The film has some elements that work, but not enough to overcome its gratuitous cameos, its need to be bigger, or its wasted nostalgia and bloated runtime. Unfortunately, our lovable golfer may have been better off staying in retirement.

More Millennial introspection than sci-fi movie, what Save Yourselves! lacks in world-building, it makes up for with charming relatable comedy.

As the film marches to its conclusion, one will have some appreciation for the rotoscoping animation, the score, and the voice work from some of the actors. However, the murky narrative structure and the lack of a central protagonist only works against all the gory goodwill the film possessed.

While the movie's sea battles are elegantly staged by cinematographer-turned director Aaron Schneider (helming his second feature here, more than ten years after his acclaimed debut with Get Low), the absence of a compelling character throughline makes it difficult to become emotionally invested in their outcome.

Donowho’s western tale follows a typical formula, but there are plenty of laughs and smiles to be had throughout this familiar story.

The film is ultimately underwhelming and lacking the urgency needed to drive the story and lend realistic consequences to their endeavor.

Director Vicky Jewson and her stunt team... properly make dance a large part of its central characters' fight sequences, which gives them a very different flavor. However, this only elevates the film so far beyond its fairly underwhelming script.

Where the Crawdads Sing stumbles a bit in its transition from page to screen, though it is aided by a great lead performance.

Witherspoon and Ferrell play off each other fairly well, but I'm not convinced they have the chemistry necessary to pull off some later developments that I won't spoil here (but honestly, it's easy to guess what it is fairly early on). Throw in some big cameos that really don't go anywhere — the trailer already revealed Peyton Manning, who does nothing — and you get a fit-to-bursting comedy that's only intermittently successful.

Ultimately, The Pale Blue Eye feels like more of a missed opportunity than a story worth enjoying on its own. As far as historical fiction goes, the film fails to capitalize on its central historical figure, especially with Melling’s performance a beacon of light.

In Land, actress Robin Wright’s directorial debut, the sad, isolated feelings that come with bereavement saturate the story, but the film has surprisingly very little to say about grief.

While the film has some full-blooded setpieces and creative visuals - plus one of the franchise's coolest posters - it's a thoroughly by-the-numbers effort. Lee is visibly disengaged with the sequel, the middle section drags on and most of the cast of characters aren't terribly interesting.

Between its concise action and Crowe's scenery-chewing, Unhinged makes for an amusingly trashy B-movie, even if its social commentary never congeals.

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.