The Tomorrow War is a fun entry into the sci-fi/time travel genre, though the pieces never add up to something all that memorable.

Whether that be through exploring mental abolition versus determination or even activism versus an individual’s special needs, Hamm’s latest had the potential to say a lot more than what was accomplished. Instead, he doesn’t do much with either, and he relies a little too heavily on his actors to take this uninspiring script towards sincerity.

Despite lacking the same polish as many other movies the two leads have been in before, it's still a thrilling rollercoaster that offers plenty of twists and turns, making for a generally interesting addition to both actors' careers.

Uncharted is joyless and has little to no personality.

House of Spoils is an exploration of witchcraft, land, and the respect it should be given, and a study of the perversion and stress of the restaurant industry.

Caleb Landry Jones, who plays the hopeful hero, is brilliant, but the rest of the cast dulls his performance and turns something with promise hollow.

Some of the best game movies have adventure, heart, humor & good characters. I wish I could say A Minecraft Movie had these things besides adventure.

From a horror perspective, the film is lacking, but it more than makes up for it with well developed characters and a killer who preys on secrets.

The film is bolstered by the strength of Cooke's magnetic performance and is energetically entertaining, heartbreakingly sad, and darkly humorous.

When a film is trying to tell three stories at once, it’s bound to get tied up in its own narrative misgivings, and Hold Your Breath is certainly culpable of that.

The Rhythm Section is wonderfully acted by Blake Lively and immersively directed by Reed Morano, creating a tense and mostly engaging thriller.

In the end, Goodnight Mommy contains a great balance of intrigue, shock, and entertainment. The film also captures the need for a mother’s love and truly thrives when it settles into the more intricate and intimate part of its storytelling. The cast does an incredible job conveying these underlying themes in addition to leaving enough open for audiences to interpret and figure out on their own.

Paint could’ve been funny; it could’ve had more heart; it could have even been more fun and ridiculous, with something interesting to say. But it's a mess from start to finish.

While a few of the actors give decent performances, it is not enough to overcome the stilted writing.

The Mother is a lean, mean actioner, but one that could have benefited from better editing and a tighter script. That’s not to say that the film is terrible or unbearable by any means, it's just that it is a straightforward narrative that does not require a nearly two-hour run time to tell it right.

Though The Good Mother contains great talent like Hilary Swank and Olivia Cooke, the predictable formula holds it back from saying something meaningful.

It is better at comedy than it is at horror, but it makes even the mystical scenes laugh-out-loud funny in this thoroughly enjoyable ride.

It wants to celebrate the American Dream and the entrepreneurial spirit — while making a statement about consumerism and corporate greed. In the end, Queenpins doesn't really say anything, which would have been fine if it was at least funny.

Cherry is a fairly standard drama that hits the expected beats, but is still elevated by Holland's strong lead performance.

There are great moments in the quiet of Treasure, the scenes where director Julia von Heinz's camera lingers on a look, an item, or a landscape. But Treasure finds itself stuck in the middle of these tender moments and a heavy-handed way with emotion that has good intentions but doesn't land the same.

It doesn't quite rise to the level of "good" often enough for me to heartily recommend it. However, those who have a morbid fascination with this new crop of public domain horror could do much, much, much worse.

Any one of the stories in A Sacrifice would be worthwhile to follow, but as it were, we only get a taste of each, and it's just not enough to make the ending satisfying. What is portrayed as horrific and tragic becomes melodramatic and arbitrary.

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.

As a longtime fan of the franchise, it is disappointing that we still can’t get a good Hellboy movie from start to finish, and even in comparison to Harbour’s reboot, this one lacks any major style or energy to have it linger in my mind.

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.

If one is wanting something substantive, with big laughs and surprising twists, Murder Mystery 2 should be avoided at all costs.

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.

The King's Man is a joyless prequel to Kingsman, devoid of the charming offbeat comedy and pulse-pounding action scenes that made this franchise fun.