Bettinelli-Olpin and Gillett do know how to stage a good scare sequence, and Scream VI has enough decent ones to prevent the film from tipping over into disaster.

Essentially, Memory is too superficial a treatment of the chestburster sequence to validate making half of a movie about it, and it’s also too lengthy an exploration of it to give the other elements of the movie their proper due.

This couple’s connection feels authentic and lived in — but I must confess that at a certain point I began to feel like an additional dimension was missing, some sort of tangible connection between Bernstein’s outward persona and his marital stresses, or between his sexuality (and the steps he took to hide it) and his musical output.

I’ve never enjoyed any of Roth’s grisly R-rated movies, but at least those had a distinct vision and style. If only his kid-friendly haunted house movie was as original, it could’ve been a surprising treat.

Let me put it this way: When I look back at this franchise in another 30 years, Scream 7 is not going to be one of the installments I’m nostalgic about.

Look past the surface of this remake and you’ll find ... basically the exact same movie you’ve seen before, and could watch at home anytime you want. There are no surprises, except maybe the total lack of surprises.

The person who makes the new Charlie’s Angels work when it works is Stewart, very much playing against every image of her audiences have built in their minds over the last decade or so.

Joy has none of the energy or precision of any of Russell’s recent efforts. Not even Joy Mangano could invent a mop good enough to clean up this mess.

Like I said: Inconsistent.

Skyscraper downplays one of the main reasons we go to see an action movie starring The Rock. As a result, our beloved pro wrestler turned movie star feels a little miscast, even as he gets to once again assume his favorite role as the ultimate superdad.

This is the sort of film that is more frustrating than bad. Vigalondo had something really special here. He just didn’t quite pull it off.

While Flamin’ Hot’s choice of subject might separate it slightly from the larger canon of great-man biographies, it’s otherwise a very familiar recipe coated with a little new seasoning.

If Iñárritu wanted to show how life on the frontier was miserable and monotonous he succeeded — by making a movie that is miserable and monotonous. Some of the greatest cinematography in history can’t change that fact.

The stronger element (sorry) of this story is the relationship between Bernie and Ember, and how it underscores the way the expectations of every generation winds up resting heavily on the shoulders of the next. I’m not sure using different elements as a metaphor for the immigrant experience quite works beyond its broadest strokes, but it does at least add some heft to Elemental’s scenes between father and daughter, which do build to an affecting if extremely predictable conclusion.

Beneath the predictable story, Detective Pikachu isn’t about much, and if you need Wikipedia to explain who Mewtwo is, most of the jokes will go right over your head. The whole thing is a bit too childish for adults, and a bit too convoluted for kids. It absolutely deserves an Oscar nomination for Best Visual Effects however, even if the subject matter makes me think it’s unlikely to receive one.

More than a third of its runtime is frustratingly lifeless, mimicking the repressed, impassive psyche of Ryan Gosling’s astronaut, and when Chazelle finally takes us to that big rock in the sky, the sequences may be gorgeous to look at, but the film fails to capture how awe-inspiring something as epic as a trip to the moon must have been.

While a reunion between Greengrass and Damon should feel like a refreshing extension of the franchise, Jason Bourne is just another replica, and an unnecessary one. The familiar pieces are in place, but it adds nothing that Greengrass hadn’t already accomplished. Maybe its best we let Jason Bourne retire for good.

A great cast and a fairly clever turn into the realm of horror can’t redeem what otherwise feels like a very familiar, very safe piece of satire.

13 years later, the X-Men are bigger, and the effects used to bring their powers to life are even more convincing. But what’s missing at this point is that sense of awe and wonder from those early days. For all the fighting and blasting and bamfing, we’ve seen it all before — sometimes literally.

This movie is not entirely worthless. Reynolds and Scobell have amusing chemistry together that evokes a lot of ’80s buddy comedies in a fresh way; here is a movie about the tired trope of mismatched partners where the mismatched partners are actually the same person.

A bloated action movie with occasional breaks in the monotony. It’s Perfectly Fine™; entirely competent but unexceptional in just about every way.

This movie offers very few insights, and has no apparent point beyond mythologizing the early days of a company that doesn’t exactly need assistance in the self-mythologizing department.

The group...make a fine crew. But the rest of the movie doesn’t find enough interesting wrinkles on the old formula to merit a reboot.

Rules Don’t Apply could have been an insightful look at a tragic, troubled figure. Instead Beatty made a conventional romance with lead characters we hardly care about.

The Infiltrator isn’t necessarily bad, it just has nothing unique, compelling, or memorable to offer in its over two-hour runtime.

I suspect some may give Cruella a pass simply because it does have a genuinely quirky vibe, along with a slightly darker than your standard Disney fare. The gonzo period fashions are fun as well. Ultimately, though, the film feels less like a satisfying character drama than a work of corporate rebranding — for Disney as well as for Cruella herself.

This is a blast of Bayhem so pure and unfiltered that when a detached human eyeball gets used as a “funny” prop during the first action sequence, it feels like Michael Bay declaring his intentions: This movie is going to blow your f—ing eyeballs out.

Without the musical heart or stirring adventure of the first movie, Moana 2 relies on a surprising amount of gross-out humor and meta jokes to keep audiences engaged.