It has plenty of logic gaps, over-the-top action, and is generally a lot of fun. Red Notice doesn't quite coalesce into something that could become a timeless classic of its own, but it provides plenty of entertainment.

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.

In The Super Mario Galaxy Movie, as in the 2023 film, surprise character cameos, nonstop gags and action, and references to 40 years’ worth of games that fly across the screen at 100 mph take precedence over plot, character development, and pacing. However, if you’re ready to turn off your brain for a little under two hours and bask in the impressive animation and countless Easter eggs, there’s a lot of fun to be had in this sugar rush of a sequel.

DeVine is entertaining enough, and the gag of watching Bronson and Barkin playing cool criminals can intrigue just about anyone. For all its flaws, The Out-Laws will win over those who flock to Happy Madison’s movies time after time, even if you'll promptly forget what you have watched.

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.

Offering no individuality of its own, Zone 414 barely manages to stay afloat with its oft-repeated tropes, which come to a listless, foreseeable end.

He's All That is a hollow Gen Z recreation of She's All That, lacking in charm and seemingly engineered as a vehicle to promote its stars' other work.

The Royal Treatment is ultimately benign fun. It is sweet, simple, and boring.

Much like The Mother, Trigger Warner is all setup with little payoff. The emotional sentiments are effective but drawn out in uninteresting ways, and Alba, a capable actress, is not nearly as charismatic as the middling script requires her to be.

The Eternal City struggles with finding the tonal balance between a child-friendly action-comedy and an adult-appropriate action-comedy.

Space Jam: A New Legacy is a fun family movie bolstered by a good heart and strong visuals that make up for a lack in originality.

The film is unable to sustain any tension and is seemingly afraid of its own potential for violence, despite gesturing toward the creative weapon choice that is practically a bar for entry into the slasher genre.

This Is Not a Test suggests a filmmaker content to operate within the familiar confines of the horror genre rather than push beyond them.

The only glaring flaw in Alone With You is its rushed final moments and ending, but it is not discordant enough to mar the genuinely uncomfortable scares and taut suspense it generates throughout.

The Kissing Booth 3 is overstuffed and overcomplicated, but provides some shallow summer fun as the final chapter to Netflix's teen rom-com trilogy.

When it comes to horror, sometimes originality isn't necessary; what's key are the scares, and how everything unfolds. Unfortunately, Tarot falls flat in the former category, and the latter isn't particularly engaging.

Slapdash to a fault, Coffee & Kareem is an irreverent time-waster that can't make up its mind about whether it's sophomoric or subversive.

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

The film is still very watchable, and it has a lot of heart that makes up for its overall lack of focus and certain emotional throughlines. But where cohesiveness and pacing are concerned, this sequel leaves a lot to be desired.

Home Sweet Home Alone is an unnecessary sequel that fails to revive the franchise, lacking the fun, charm, and magic of the 1990 Christmas classic.

Argylle is worth checking out for those interested, but don't expect it to be as good as Kingsman: The Secret Service, though it's certainly better than The King's Man.

What Lies Below offers a twist on two underrated sub-genres, but its identity crisis causes this aquatic horror creature feature to sink, not swim.

One True Loves may not be Reid's most popular novel, but its adaptation is nevertheless handled with genuine care. The soapy premise won't be for everyone, and its heavy-handed approach can alienate. Still, those willing to join Emma on this (mostly) complicated journey may very well find themselves charmed by the end.

Despite a fine performance from Jared Leto, Morbius is a painfully mediocre superhero origin story, delivering a shallow recreation of better movies.

As a whole, The Turning is a triumph of style over substance that might've well made for a perfectly middle of the road horror film, had it not been edited down to the point of becoming incoherent by the end.

Is The Desperate Hour tedious and dull? Without question, yes. The real issue, however, is that the subject matter is so inappropriate for this kind of story that the entire movie-viewing experience is tinged with a sickening hue.

After nine years, Aaron Taylor-Johnson returns to Marvel superhero fare, but while Kraven the Hunter has potential, it's a middling origin story.

Scream 7 injects nostalgia and self-referentiality like a weak drug, a stash of weed purchased so long ago it has gone so stale it crumbles to the touch.