Despite a few strong aspects here and there, Inherit the Viper is more or less a fleeting entry into the crime genre that won't stick out in viewers' memory after the credits roll.

It may not push the envelope or be as innovative as other films out right now, but Just Mercy is nevertheless able to captivate the audience and could even inspire people to try to make a difference.

It's more effective as an action-comedy about Mike and Marcus struggling to figure out what they want in life (now that they're facing north of fifty) that a reflective drama about Mike coming to terms with his traumas and mistakes, if only because the latter plot thread tries to build on a foundation that, frankly, was never really there in the first two Bad Boys movies.

It's fun enough to keep audiences mostly entertained for its hour and 45 minute runtime, but there's nothing particularly memorable to latch onto - not the CGI animals, not the fantasy world and not even Downey Jr's performance.

There's a real sweetness at the center of the film, but Like A Boss surrounds that heart with middling raunch comedy.

1917 is worth checking out on a big screen for its visuals alone (Deakins' next Oscar nomination is all but assured), even though its immersive cinematography can, indeed, have the unintended side effect of making the movie seem like a video game at times. Still, there's a beating heart beneath the machinery that prevents it from being a hollow experience

Altogether Underwater is a middling movie that spans multiple genres, from sci-fi and thriller to action and horror, and can't seem to focus on any specific one.

The movie's attempts to expand The Grudge's mythology generally don't work, and its stabs at being grittier and more realistic than the films before it are undone by its over-reliance on bloodshed and just plain unpleasant details for shock value.

Though Togo is headed straight for a streaming service, it's still feels like a very cinematic experience. Director Ericson Core (who also served as the movie's cinematographer), excels at portraying the brutal conditions Leonhard and his team endured during the serum run.

Greta Gerwig's Little Women weaves a stunningly heartfelt and achingly honest coming of age story with excellent performances from its entire cast.

In spite of its shoddy sound design (Hooper, as he did with Les Mis, has his cast sing live, but their vocals are poorly blended with the instrumentation), Cats' actors are perfectly matched to their respective roles.

Star Wars: The Rise of Skywalker gets bogged down in exposition and course-correcting The Last Jedi, but does have some fun moments and fan service.

It's no less beautiful than anything Miyazaki's done before, and these softer illustrations, like sketches that were never refined, offer a dreamy world.

This film may want to scare us, but it also strives to make us as observant and inquisitive as its heroine. We become active viewers, learning and making connections that fill the gaps left open in the worldbuilidng.

If you're a martial arts/action movie fan in particular, much of the action in the film will leave you very satisfied. There's a prison escape sequence that is jaw-droppingly cool.

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

It's not only a modern classic of the zombie genre, but one that is sure to stand the test of time for the next 20 years and beyond.

Lili Taylor's work here is rather brilliant, as she completely inhabits the soul of Patti, a single mother who is close to giving up on any future. It is a striking work in a great example of independent cinema.

As blockbuster experiences go, it's near-enough perfect.

While it may still pale in comparison to its predecessor, Candyman: Farewell to the Flesh deserves more acclaim.

While the film has an excellent concept, its overuse of traumatic medical conditions, disorders, botched surgeries, and motherhood makes for a confusing plot that has too many moving parts to retain a cohesive story.

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.

Freaked definitely isn't for everyone, and in my opinion it certainly shouldn't be rated PG-13 (who made THAT stupid decision???) but as a "beer and buddies" movie you'll find it funny and, well... weird.

While it's not as good as the first, it ups the ante on gore and insanity, and will delight those who enjoyed Re-Animator.

While The NeverEnding Story II: The Next Chapter is lacking compared to the book and first movie, it's still an entertaining kid's adventure.

It's no surprise that Opera is Argento's largest mainstream success due to the fact that it is everything a traditional horror fan could want coupled with the addition of giallo elements and a unique story.

Though it is sometimes a bewildering mess, the film totally works in spite of its more ludicrous intentions, a standing piece of proof that the more specific a piece of work is, the more universal it somehow becomes.

Macchio and Morita not only deliver outstanding individual performances, but also show a remarkable chemistry with one another, and Martin Kove's performance as Kreese remains an effectively chilling foil to the film's leads.