Worldbreaker has the skeletal framework of a great dystopian thriller, but never progresses beyond surface-level worldbuilding. Even so, it effectively captures the resilience of a family that doggedly battles the odds for survival in a world teeming with chaos.

Croke's script seems content with delivering reality-questioning thrills rather than offering anything meaningful to keep audiences thinking beyond the movie's 90-minute runtime, or even within it.

The Flash is a passable multiverse superhero movie, but no amount of DC cameos can make audiences forget the awful off-screen actions of Ezra Miller.

It's a run-of-the-mill crime drama that doesn't stand out.

The film's best attribute is the romance between Bruce and Faye. White and Young's chemistry is palpable, and Cooper solidly helps us understand why an artist on the verge of overwhelming fame might be interested in a working-class single mother, whose planted smile belies the pain of someone abandoned and bereft. There's a nuance here that the rest of the film sorely lacks and needs.

A genuinely gritty premise paired with a 90-minute runtime is typically a recipe for success, but The Last Son never becomes the movie it's capable of being.

Johnson and Hart have proved a formidable movie duo in the past, but without their usual on-screen charm, it's tough to get invested in the stories of Krypto and Ace. Even with their star-power and a slew of talented performers making up the supporting cast, DC League of Super-Pets doesn't offer much.

Trail of Vengeance is undermined by the fact that a feminist Western cannot succeed without women having meaningful influence behind the scenes. What we are left with is a film that is a hollow imitation of a much-loved genre.

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.

Sing 2 doesn’t offer enough originality to truly make it stand out, though those who got a kick out of the first movie will find plenty to love.

Sharp Stick is charming thanks to great performances, but the lopsided script doesn’t reach its full potential.

Last Days is as frustrating to watch as it is to try to understand this avoidable tragedy.

It is easy to see the potential in the first act, but Purple Hearts leans too much into over-sentimentality, with narrative tricks designed to trigger tears and subdue thinking.

For families and kids who don't mind watching a predictable formula being followed mostly adequately (which is a pleasure in and of itself, if the genre suits you), they could do much worse than Dora and the Search for Sol Dorado.

With thin character work and a familiar story surrounding it, the movie ultimately proves more disposable than enjoyable.

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.

Cat Person is not as compelling as it perhaps aims to be and, though there are great — and even uncomfortable — moments in the film, it doesn’t justify its tonal shifts or its feature length.

It’s meant to shock and disgust — and it does — but while Infinity Pool starts off interestingly enough, its take on power, corruption, and privilege only goes so far.

Year of the Fox is a movie far too marred by its narrative missteps to fully embrace its better parts. The dialogue becomes increasingly predictable and mind-numbing, which makes for a very misguided effort.

This story alone is gripping enough to warrant further study, but this documentary has very little in the way of actually exploring the case so much as it focuses on the conspiracies surrounding it.

Trust is a disappointing and lackluster attempt at exploring a tense and important issue.

Despite a stellar cast, Marlowe doesn’t rise to the occasion, stumbling along without ever finding its footing.

While Senior Year has certain moments that are indeed funny, it’s not enough to overcome the film’s many flaws.

Madame Web is boring, unimaginative and dated, despite being one of very few superhero movies centering on female superheroes. All in all, Madame Web is a superhero movie you can absolutely skip.

It’s a difficult film to take seriously, as it buries its potential in absurd drama, dialogue, and sequencing.

It’s a film so soulless I questioned the point of it.

Most of all, the movie reaffirms the fact that we still don’t have the iconic, big-budget Hart movie his career has been working towards.

While Hurley’s skill as a filmmaker was in question for the majority of the movie’s runtime, there are around 10 minutes near the end that hint that, with some work, he could hone his skills further.