It is a pretty average "day at camp goes horribly wrong" story. It stands a little higher, however, because it deals with an underrated bug that horror films should honestly put to work more.

The surface-level script and refusal to commit to any character's development make the story and characters shadows of what they could have been.

Anaconda aims to be Bowfinger for a new generation but ends up feeling as insipid as the film it is loosely based on. Its target audience is people nostalgic for the salad days of studio blockbusters, who are righteously frustrated with executives for cashing in on material they don't understand.

Those looking for classic Scooby-Doo or anything more than superficial entertainment can skip Scoob! - even with the dearth of new movies.

It isn’t the worst directorial debut by any means of the phrase, but Burr’s raunchy comedy fails to say something meaningful. Instead, it underwhelms.

While Needle in a Timestack aims to be profound, it loses itself within the sci-fi premise rather than exploring the central romance in any detail.

I Know What You Did Last Summer isn't the worst long-awaited horror sequel ever put to screen, but it doesn't try to be anything but a shallow reflection of its predecessor.

Locked Down is an average drama that relies on the strengths of its two lead actors to help elevate it above its various shortcomings.

There are a few bright spots in Rise of the Beasts, but these are largely overshadowed by a lot of generic parts that would not be out of place in any of the previous six Transformers movies.

While it might've been nice for Mafia Mamma to reveal more details about Kristin's ascension as a mob boss, its humor and Collette's performance make it a solid ride anyway.

The problem is that the film wants to be too many things. It wants to be an action/adventure that takes its characters to exciting locales, a heart-warming story of family, an incisive commentary on global warming, and a cautionary tale of how vengeance can consume a person.

All told, Swiped is a conventional, even hopeful biopic. Lily James is great in the lead role.

Captain America: Brave New World lacks the entertainment of an MCU movie, despite compelling performances from Anthony Mackie and Harrison Ford.

Cave's assured direction creates a sickly sweet, dreamy world, and though its story sometimes lacks the dynamism it needs to fully connect, Kidman, unsurprisingly, carries the film over the finish line.

With thinly written characters and a narrative confined to moments only serving to push Mike and Kate to the height of insanity, this is about as disappointing as it gets for a film with such promise and potential.

The film is certainly worth a watch simply for the music and the entertaining aspect of its storytelling.

Brothers by Blood is an incomprehensible, frustrating mess that barely touches on its narrative themes and completely wastes the talents of its actors.

Endings, Beginnings favors style over substance, rarely igniting the spark its meant to and anchored only by a compelling Shailene Woodley.

Unfortunately, Dating & New York can't find anything new to say about the world of casual dating, so its love story never fully gets off the ground.

There are bound to be viewers less familiar with the source material who are enchanted by Persuasion. However, the modern touches are just too persistent to ignore, and they take away something that the movie urgently needed — genuine depth.

With dazzling lead performances from Jimmy O. Yang and Nina Dobrev, Love Hard will surely be a Christmas romantic comedy worth revisiting every year.

It is great that this blended family is so diverse, but if there is no thoughtful integration of their stories, they remain merely set dressing.

Shot frenetically with delightful gore sequences, Halloween Kills adds no real path for Myers' saga and crumples beneath its own misdirection.

Those looking for a heartfelt tale of family and love might find this one misses the mark, but other viewers willing to go along for the ride could find themselves grinning by the credits. The People We Hate at the Wedding will likely be somewhat divisive, and that makes it a rather intriguing movie in the end.

Guadagnino is, unfortunately, unable to find a consistent tone that leaves the narrative feeling disjointed and lacking in coherence.

2021 was an excellent year for slasher fans, and the Fear Street trilogy was one of the big reasons why. Four years later, Fear Street: Prom Queen, which exists in the same town and timeline but functions as a standalone, continues the fun.

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.

Though it's an often beautiful showcase for the Arabian desert landscape, Desert Warrior is a slow, awkward jumble, trying so hard to be cool and lacking any of the style or charisma to pull it off. The climactic battle has some redeeming qualities, but after waiting 90 minutes to see it and finding it so choppily edited as to be distracting, the prevailing feeling I carried with me after it ended was still disappointment.