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.

Ultimately, First Blush works as an engaging, compelling exploration of how a change in a relationship can also wake up unresolved personal issues. However, while the first half is incredibly strong, Neumark struggles with bringing it all together in the end by rushing to bring the characters into conflict with one another.

Sadly, Diablo is not a special B-movie, but it is one with great fights.

Sporting skilled choreographed action sequences, Castle Falls offers a mildly satisfying viewing experience despite a weak and muddled storyline.

Unfortunately, Reminders of Him isn't a very good film, at least in the traditional sense. But, like Regretting You, there's a certain level of lizard brain enjoyment that transcends much of the film's flaws and allows for all the soapy, melodramatic elements to be enjoyed at their own level.

Tonally inconsistent, writer-director J Blakeson takes a big swing and misses with regards to the film’s message. Rosamund Pike gives a fiery, powerhouse performance, but there is something completely missing from I Care a Lot that makes it a hard pill to swallow.

The film doesn’t always rise to the occasion, and there is some lost potential and a general lack of urgency, but We Were Dangerous’ heart is in the right place, bolstered by a great cast and a strong overall message.

As a film birthed from the pandemic, the presentation already feels outdated. There is an attempt to revitalize the format, but it falls flat. All in all, the family dramedy has all the right pieces, but, like any dysfunctional family, they don’t come together in the most cohesive of ways.

Keeping us close to the film's talented cast is a decided strength of this, and the performances add nuance to a largely straightforward viewing experience. But it's hard not to wish Fingernails had grander designs. It shows just enough of its full potential to leave us wanting to see those ideas expressed more fully.

The film has its fair share of intoxicatingly gripping moments and watching Kaluuya as Hampton is visceral and empowering. Unfortunately, it never feels like the story gets out of its own way enough to flourish, nor does it explore the complexities needed to emphasize and humanize the characters in the way that it should.

Margot knows the dangers of social media – her backstory has shades of cliché, but it's still effective in pushing her down the rabbit hole that her coworkers' superficiality precludes them from exploring. That investigation involves a string of missing persons and a killer obsessed with the dark corners of the internet. The biggest issue with Faces of Death, though, is that it's just not all that dark down there.

At the very least, The Cow offers some food for thought and has a strong setup, even if it doesn't fully deliver a satisfying conclusion.

While it can be profoundly moving to follow the story of people's small but important everyday lives, the film loses both the audience and its momentum by the final act when things should be heating up the most.

While Page’s beautifully nuanced and searingly felt performance will stick with me, the movie as a whole feels like something I watched through a window myself — one with frosted-over panes that, try as I might, I couldn’t scrape clean for a clearer, closer view of the story playing out on my screen.

Best. Christmas. Ever! is not the most splendiferous Christmas movie ever, but it will satisfy those hungry for new sentimental holiday movies every year.

Little Death is two vignettes — one more compelling than the other – that only loosely come together.

While the remake offers a fun, nostalgic moment for fans of this forgotten 1990s kids’ movie, it struggles to enhance or elevate the brilliant charm that made its predecessor so memorable.

With a little more thought, and some effort made to elevate the narrative beyond sexy killer robots, it could have carved out a space as a cult hit, but Subservience falls short.

Manodrome lacks depth as either social commentary or character study, in large part because of how it positions us in relation to its protagonist's perspective.

The Critic was far less fun than I had hoped it would be.

Ultimately, Horse Girl is a tricky film to unpack. On one hand, it's fine that it doesn't provide easy answers for the questions it poses, but even dedicated cinephiles may find Horse Girl abstruse and challenging to a fault.

It's entertaining, and there are a few chuckles to be had. One can appreciate the referential and situational humor as they are timely and apt for the characters. Lester and Gentry are a winning combo.

Gans and co-writers Sandra Vo-Anh and Will Schneider clearly wanted to try and make a faithful translation of the second game in the series, but between unnecessary lore changes and a lack of thematic heft in some of its storytelling, the filmmaker's return to the franchise is a weird mix of exciting recreations, gorgeous visuals and disappointing execution.

The acting, from both Black Panther's Letitia Wright as June and Tamara Lawrance as Jennifer, is a particular standout. Their commitment to delivering intriguing performances as troubled twins elevates this weak script and enables viewers to become fixated on what was happening to them.

Ultimately, Railway Children struggles a bit in balancing its tone and grand ambitions. However, for those looking for a sweet story about the power of friendship and childlike willfulness, this movie just might win them over.

Trolls Band Together never lets the family adventure color outside the lines.

Despite great performances from Lily Collins and Simon Pegg, Inheritance is weighed down by heavy exposition and its overly ambitious story.

Badland Hunters may not be a worthy successor to Concrete Utopia, but it is an entertaining zombie actioner.