The film is funny, but the drama doesn't fully work.

Freedom’s Path has some hurdles that it just can’t overcome from a narrative standpoint. There’s quite a bit of rose-colored storytelling that goes on throughout this feature. There are also significant pacing issues that make it difficult to lean into the storytelling. With that being said, there’s no denying the underlying heartfelt attempt at sharing profound messages.

At Midnight has a certain Old Hollywood flair that gives it a unique edge, but its surface-level approach makes the romance more frothy than impactful.

Ambitious ideas and stunning visuals do not make for a great film, but Millepied should consider following his instincts to fight for an all-dance musical for his next feature.

All told, Rescued by Ruby is perhaps not the most revolutionary dog movie audiences are likely to find, but it will certainly do the trick if one is looking for something sweet and inspiring. With little real drama and plenty of adorable puppy shots, Shea's film goes down easy.

Dog Man is trying to tackle too many themes and morals at once, creating a mess instead of a cohesive and accessible lesson.

Though it has its merits, an excellent supporting cast & fun musical numbers, Wonka wobbles in its journey & storylines while remaining heartfelt.

The story is simply a rehash of the first film, and even the jokes begin to fall flat well before the halfway point. Hocus Pocus 2 is enjoyable, but it doesn't quite live up to the lightning-in-a-bottle moment that was the 1993 film.

Tetris is a serviceable adaptation, but for all its visual flair and 80s nostalgia, there's still something missing when all the pieces come together.

The synopsis sounds straightforward, but there is a lack of balance from the start, and the film has an ill-mannered approach to telling a sensitive or impactful story about sex trafficking.

While Andrew Garfield gives a driven and kinetic performance as Larson, Tick, Tick… Boom! is messy, missing a distinct spark and emotional depth.

Without offering anything particularly interesting or nuanced, The Guilty still has enough to keep audiences engaged and on the edge of their seats.

Clock showcases that Jacknow is a talent to watch in horror, though the film doesn’t stick the landing. Occasionally, the concept is stretched too thin, especially when the character work is lacking.

The Secrets of Dumbledore holds positives and negatives alike, and that makes for an entertaining, but slightly unsatisfying viewing experience. There is magic to be found, though, and perhaps that is all that matters.

Crowe’s performance is The Exorcism’s saving grace. His dedication to crafting a character whose struggles he wears on his sleeve elevates the lackluster horror elements that are consistently on display, but that don’t do much for the overall story.

It’s unfortunate that Being the Ricardos never becomes as interesting as the people it’s centered on. The film offers enough interpersonal drama to keep audiences watching and intrigued, but while Sorkin’s script moves steadily towards the ending, the story wanes and never builds enough momentum to truly impress.

It's clear there were several great ideas in The Radleys, wonderful casting across the board, but the edit leaves much to be desired.

Birth/Rebirth contains wonderful performances from Ireland and Reyes. But Moss’s directorial debut needs quite a bit more than stunning performances to leave a lasting impression.

Ultimately, Huda's Salon is a case of an exciting concept that can't maintain its own momentum.

One Way won’t carve a place into the crime thriller pantheon, but its most notable achievement should be setting the stage for Andrew Baird and Colson Baker’s inevitable rises in the film industry.

The movie's boldness helps craft an entertaining ride that is incredibly zany. Is this among the best shark movies? Absolutely not. But by the time Hot Spring Shark Attack was over, I couldn't help but smile.

Crucially, Last Looks' groovy tone allows the viewer to simultaneously try and crack the case while never having to overly invest in the plot.

Ungar’s Bandit entertains because of genre alone, but the ambiguous messaging leaves much to be desired.

Knights of the Zodiac, despite its reasonably minor flaws, is fun.

Venom: Let There Be Carnage delivers some more of what works - Eddie and Venom's dynamic - though everything around them remains quite messy.

The lead performance almost shipwrecks Last Survivors, but director Drew Mylrea (Spy Interventions) is in complete control of his vision. Silverstone and Moyer feel extremely welcome outside their normal roles and should leave audiences wanting more indie genre fare from the duo. The twist alone should keep audiences watching because Last Survivors has got one that isn't worth missing out on.

While Schrader's directing and the casts' performances are more than up to standard, Master Gardener somehow ends up being less than the sum of its parts.

Despite finding a sweet spot, The Shallow Tale of a Writer Who Decided to Write About a Serial Killer falters as a whole. Buscemi, Magaro, and Lower give great performances, but it does little to fill in the gaps of the story.