You might argue there's no redeeming value to any of this, and I won't fight you on that. And yet, the "everything and the kitchen sink" vibe of the whole thing renders Terrifier 2 an above-average slasher extravaganza. Watching this gives one the sense that they're watching something new, and that's a feeling you just can't beat. Whatever bloody adventure Art the Clown gets up to next, I'll be sure to watch.

No Hard Feelings is enjoyable because Jennifer Lawrence is still one of the most delightful actresses of her generation. (At one point, another character dryly dubs her "America's sweetheart," but the moniker does kind of fit in a sincere way.) She's well matched by Andrew Barth Feldman here; their performances are what make this film work.

This is ultimately a worthwhile musician biopic if only for Jeremy Allen White's thoughtful, tortured performance. He's so damn good playing Bruce Springsteen that you more or less want to forgive the movie its flaws.

Unfortunately, The Love Birds just isn’t that funny. Don’t get me wrong – Nanjiani and Rae are funny, and they try really hard to make this material pop. But the jokes fall flat more often than not, and the direction from Michael Showalter (who also directed Nanjiani in The Big Sick) is oddly lax, with scene after scene embracing the unstylish “point and shoot” approach.

Good Madam takes its time to linger on subtle and chilling notes before unveiling its fantastic finish. The only drawback to the film is it hints at more supernatural events than we ever see play out on-screen.

As a showcase for its legendary leads, and as late-night snack for those who like scores synthesized and their blood practical, it’s certainly a good enough time at the movies.

The Drama is a cinematic Trojan horse: it's a breezy farce that feels uncomfortably ominous, and it's also a star-studded romance movie which could set off a discourse bomb.

At the end of the day, this is Izzo’s show. Her performance breathes new life into a story we’ve seemingly seen countless times before, now made anew.

The Forgiven runs the risk of becoming a thoughtless movie about a vile white man who is taught a lesson by wise brown people, but McDonagh, who also wrote the script, manages to (mostly) avoid that with a subtle touch.

Will Nobody 2 set hearts aflame? No. If this had been the first "Nobody," no one would have been clamoring for a sequel. But it is a glorious Saturday matinée, a brisk trifle for the waning days of summer. It's the kind of movie that you'll remember better for the friends you saw it with than the movie itself. And that can be one of cinema's most important functions.

There's a big beating heart at the center of the movie that keeps you close to the ground and makes it an absolute triumph of twisted humor and love.

Were it just slightly more entertaining we might have something special on our hands. As it is, we have a sturdy, mercifully swift action pic that fizzles out instead of burning bright. It’s nice to have a movie as simple as this for a change, but it would be nicer if it were better.

It’s the unexpected amount of heart that ends up making Bad Boys for Life a pleasant surprise.

Sure, it's a lot of fun watching beautiful assassin Ana de Armas pick up a flamethrower and burn some dudes to a crisp, but a film featuring such an exciting concept shouldn't be this forgettable.

This is the truly subversive comic book movie we’ve been waiting for. Now that it’s here, we might start to regret the monster we’ve conjured up.

Giving a movie marks for not being as bad as possible is the same as giving someone a participation award. Could this have been worse? Of course, which also means it could have been a hell of a lot better. Maybe with a different director. Maybe with faster pacing.

Next Exit is a moody and haunting character exercise, centering around the terrific central performances by Katie Parker and Rahul Kohli, but a little underbaked otherwise.

Carmen is a largely enjoyable outing, fueled by a fresh take on the narrative and two leads with great expressiveness and a lot of on-screen chemistry. Barrera's dancing is truly beautiful, the choreography is inspired, and the gorgeous score pulls it all together.

Through a phenomenal performance, chilling atmosphere and a terrific script, Spiral builds an experience that is as terrifying as it is depressingly timely.

The Banker is like a shell of a movie, with a desperate lack of personality. The ingredients are there, down to the inevitable moment in the end credits when photos of the real people are placed alongside the actors playing them. Yet just as Apple TV+’s original series are lacking the element of dramatic excitement, so too is The Banker.

Yes, it could’ve been worse. But as daring as this film’s costumes are, and as fun as Stone and Thompson (and Hauser and Fry, to be fair) can be, it can’t help but give into its lazier instincts.

Full of loud, shrieking, hateful characters and shaky camera work designed to hide anything interesting, only extremely hardcore fans of the series should apply for V/H/S/99. I couldn't even find one story to grasp onto here, and that's a problem.

In terms of cheap, late-night, exploitation flick fun, it satisfies.

The Roses is the kind of movie you should be seeing with a crowd, even if it doesn't seem to demand a big screen experience. See it with your parents. See it with your significant other. Just see it.

Horror sequels often divide fans, especially when the original develops a passionate cult following like Ready or Not. Matching that film's sharp humor, bloody chaos, and bonkers energy would be no small feat. Fortunately, Ready or Not 2: Here I Come proves to be just as explosively fun as its predecessor, even if it's essentially "the same, but more."

Novocaine is a delightful and surprisingly relatable hoot. If too many over-stylized, gleefully immature action movies have been a particular pain in your ass lately, then consider Novocaine your analgesic.

It's rare that sequels outdo what came before, but O'Connor manages to do so here. This is pure popcorn entertainment, executed effectively.

As unnecessarily intricate and eyebrow-raising as the story might be, "Spin Me Round" at least feels original — it's never boring, and what unfolds is admirably entertaining enough that it's hard to downright dislike. But not unlike the Italian "cuisine" of Tuscan Grove, it still leaves something to be desired.  Read More: https://www.slashfilm.com/796873/spin-me-round-review-alison-brie-gets-embroiled-in-a-meandering-but-entertaining-comedic-thriller-sxsw/?utm_campaign=clip

This movie isn’t going to rock anyone’s world, but it’s a sweet little movie with a wholesome message and a good-natured attitude that will almost certainly bring a few smiles to your face. Sometimes, that’s good enough.

After the empty soullessness of Fate of the Furious and the ribald nonsense of Hobbs and Shaw, F9 feels like Lin is pulling the franchise back on track. Whether that track is properly placed or not, or whether it’s actually a track that takes you off the deep end…well, your mileage may vary.

By the time Nocturne drew to its admittedly effective conclusion I was left with the same impression that’s plagued every other Welcome to the Blumhouse entry so far: this would’ve been better as an hour-long episode of a horror anthology TV series. Sometimes, less is more.

The very idea of a biopic about a guy who claimed to invent a hot Cheeto feels like a gag, but it could've sidestepped all of that by avoiding the usual biopic cliches. But Flamin' Hot leans into them with an aggressiveness that makes "Bohemian Rhapsody" look like "I'm Not There." It would be insulting if it wasn't so tired.

The movie never arrives at a place where all of its conversations and provocations feel like they coalesce into a clear thesis, and its frustrating ending leans toward emotional resonance but doesn’t land with the punch the filmmakers were hoping.

It's sturdy, dependable stuff, and it might do the trick for viewers not expecting a more traditional serial killer thriller. But if you're looking for something beyond a surface-level telling of a true story, you might just want to rewatch "Zodiac" again instead.

"Brainwashed" isn't so much of a shocking revelation as it is an eye-opening wake-up call to be more thoughtful about how women are depicted in film and how that translates into our everyday lives.

There’s an undeniable and lovely sweetness at play in this film; a type of warmth and acceptance that helps elevate the entire package.

I'm sure most of the film's scenes will slip from my memory as the days go on, but while I watched, I enjoyed the battle between Theron and Egerton.

The Midnight Sky is ambitious in its attempts at pathos. There’s the germ of something beautiful buried in here; a story trying to tell us that every last life is worth saving even if all seems lost. That’s something worth hearing, but The Midnight Sky fails to even get the conversation going.

Waititi’s World War II satire is both a magic trick and a high-wire act – the filmmaker keeps pulling rabbits out of his hat while balancing comedy, kindness, and often shocking darkness. The end result is a heartfelt, sweet, blackly comedic coming-of-age journey that tries to find hope in hopeless times.

Mother Mary is an emotionally distant, confounding, and ultimately unsatisfying work of art. Though its visual ambition and lead performances are commendable, it never gives enough of itself to let the rest of us in.

While there are some truly jaw-droppingly beautiful visuals that speak to a greater imagination on Ando and Miyaji's part — they were animation directors for several acclaimed projects and have a keen eye for how to make things look good — the soul is missing. The Deer King can't help but feel like a paint-by-the-numbers riff on greater films before it.

It's now hard to imagine that "Unforgiven" felt very much like Eastwood closing the book on his Western era. Cry Macho is more of a slow-paced postscript to that book, but a surprisingly well-worn and welcome postscript nonetheless.

The saving grace of the film is the performances.

Moana 2 bites off a bit more than it can chew at times, and the pacing is as smooth as it can be for a series that was condensed into a feature film, but it's hard to be bothered by any of the film's shortcomings when "Moana" stories embody resilience, the pursuit of curiosity, community-building, defying gendered expectations, and embracing personal growth.

The film is a fun and totally fetch amalgamation of both eras of Cady, Regina, Gretchen, Karen, Janis, and Damian.

The canon of "The Equalizer" has never taken the world by storm, usually percolating in the background of popular culture as a piece of intense ephemera. Robert McCall is a former Marine and DIA officer, but that is entirely ignored in part 3. He's a superhero played by Denzel Washington, and the filmmakers assume that is enough. For many audience members, it will be.

Chon aims for the pulse at the end, but he may not have realized that he didn't have to try so hard — he had already effortlessly plucked at the heartstrings.

All in all, Indiana Jones and the Dial of Destiny is an action-packed, high-octane super soaker of a film, while at the same time amounting to a beautiful final conquest and farewell to the world's most famous adventurer.

Oh, and if you aren't sold on Jonathan Bailey being selected as People's Sexiest Man Alive for 2025, the way he yearns while performing "As Long as You're Mine" will fix that for you.

The Book of Clarence is aspirational, unique, moving, funny, weird, and very shaggy. But it's better to have a picture's cup runneth over than to present us with an empty chalice.

Action junkies, horror fiends, and romance enthusiasts have seen all of this done before and done better, sure. But it's a rare kind of gem that even attempts to pack all of these disparate elements into the same package. It's an even greater (dare I say pleasant) surprise that the last group will be the one walking away most satisfied by this, when all's said and done.

The film is a haunting curiosity, a movie that exists on the cusp of both folk horror and cosmic horror without resolving that tension.

The point of this documentary is not to dig into Birkin's life and oeuvre, the point is the discovery of a mother.

Once you squint and look past the Gyllenhaal of it all, there's not much on offer here. The leading man tears through a thin sketch of a story, populated by characters, performances, and even action that feel like placeholders.

There’s a certain fun to be had in Army of the Dead, but it’s the mindless, ugly fun that you wake up the next day regretting. Come to think of it, it’s kind of like a trip to Las Vegas.

There is such a thing as a propulsive, intelligently crafted, no-holds-barred, violent action masterpiece centered around a seemingly unkillable man whose mastery of weapons is endless. That, of course, is the "John Wick" series. This cannot hope to compete.

As hard as the cast and Taika Waititi try, though, it just doesn't work. "Thor: Ragnarok" felt effortless. "Thor: Love and Thunder" is working very hard, and not getting a lot to show for it.

Hanks carries the entire film on his back, and this is yet another great bit of work from the actor.

Underneath all the jokes and humorous moments, the movie is fundamentally about how important it is to love yourself – and about how something so seemingly simple can sometimes be incredibly difficult.

It takes some smart turns in the finale that modernize old tropes and give familiar beats a refreshing upgrade to relevant (but perhaps insufficient) degrees. The dialogue and situations feel real and authentic, and the performers land the material and have strong cast chemistry. At the same time, much of the movie is enjoyable but feels inescapably familiar.

What a baffling, misguided film.

While there may be a few folks out there for whom Hell of a Summer gives them a chill, the majority of horror fans probably won't find themselves too fearful. What Bryk and Wolfhard have here instead is one of the coziest horror movies in recent memory, one which instantly feels charming from the start.

The film somewhat fizzles out and doesn’t feel like it has a satisfying ending, but in a way, I wonder if that’s intentional. Insert Coin comes to a close suddenly, not unlike the arcade game renaissance of the 1990s. But it does leave you with the hope and inspiration of whatever the next generation of video games holds, even if it’s no longer powered by 25 cents.

By the time Havoc ended, I felt as exhausted as Hardy's beaten and bruised character. I suppose Evans and company deserve some credit for making an action movie that really leans into the brutality, but there's only so much of that you can put up with before it starts to grow tedious.

Hidden somewhere in Immaculate is a stirring and topical drama about the way male-driven religious institutions claim ownership over women's bodies.

As far as disposable action flicks go, Extraction makes good on its promise of seeing Chris Hemsworth kill a lot of people. Maybe that’s good enough for a direct-to-Netflix release, but wouldn’t it be nice if all of this mayhem actually added up to something in the end?

This is the hilarious hidden gem of the holidays, and it's better than any of the other new releases trying to hit that Christmas sweet spot this season.

Mufasa will satisfy, but it also feels ultimately useless. Like Disney is once again spinning its wheels, trying to wring billions of dollars out of old ideas while they brainstorm new ones. Fans of "The Lion King" may be slightly moved. At the very least, you'll finally know how Rafiki got his stick.

Minions: The Rise of Gru will not usher in a new era of animation, nor change the way we treat prequels. What it will do is entertain kids with more Minions shenanigans, a fair number of fart jokes, and references to other characters in the franchise.

Dedicating yourself to revenge is an act of self-punishment that closes you off from a happier life. I admire the sentiment but a messy story that sometimes loses sight of Scarlet herself means it has limited resonance.

It's What's Inside is one of the funniest, most clever, and narratively ambitious movies I've seen in a long while.

An ambitious, complex, and layered look at how the court system in America is virtually designed to keep defendants like Steve from every getting a chance at actual justice.

In spite of the pedigree of White as writer (and yes, it is that Mike White, of "The White Lotus" and "School of Rock"), and Benjamin Renner as director (following up on his very sweet and tender 2014 animated film "Ernest & Celestine"), Migration rarely approaches a level of excitement or creativity that might be hoped for with a big-budget animated feature.

The outcome is a "Sonic" movie that feels like everything fans love about the games distilled into a film that's fast, flashy, a hell of a lot of fun, and boasts an absolute banger of a soundtrack.

Adams alone might make this worth a watch, just because it's always a treat to watch her worrk. Let's just hope she returns to better things after this, and soon.

There's plenty of room for silly fluff to momentarily distract us from the nightmares of the real world. But is it really so much to ask for just a little bit more? Must we continually be served flavorless gruel and pretend it's nourishing? "Deadpool & Wolverine" will probably break box office records. The Marvel Cinematic Universe will continue onward, and "Deadpool & Wolverine" just might revitalize it in the eyes of fans. But it shouldn't be unreasonable to ask for something better.

When there is no actual conflict, the film's already low stakes start to feel meaningless, and the characters' bumbling hijinks around town start to feel tiresome. Conflict is necessary to inject urgency into a film, and as a result, Hocus Pocus 2 starts to really flag halfway through, once the shine of nostalgia starts to fade and Midler, Parker, and Najimy start to run out of musical numbers to perform.

On its own, DC League of Super-Pets is a tolerable, painless, sometimes mildly clever summertime experience, but comparing it to other DC animated fare only highlights its more meager aims.

It's a lightweight, weirdly teen-friendly (but very R-rated) slumber party movie with an upbeat and liberating "be gay, do crime" vibe. It's a queer, hand grenade-shaped squeak toy. 

The film does not waste the brilliance of its two leading performances. But it doesn’t expand much upon their skilled interpretations, either.

The Croods: A New Age is going through the motions, accomplishing the basic level of work required in pulling off a computer-animated feature. It’s a strange way to celebrate the Thanksgiving holiday, even in a strange year like this.

Though it stumbles in parts, Jason Momoa is there to keep the car in drive before he hits the nitro and blows everything to hell. It's over-the-top, outrageous entertainment that is worthy of seeing on the silver screen with the biggest tub of popcorn you can find. BOOM!

There are snapshots of something greater here; hints of a grander mystery, a bigger twist, a better climax. Alas, we can only ponder, weak and weary, over what that better film could have been.

For all his skills, Wright seemingly can't pin down what he wants "The Running Man" to be. The action isn't very exciting, the satire is unoriginal, and the over-reliance on weird product placement (both Liquid Death and Monster Energy get distracting shout-outs here) make the entire picture feel manufactured. I had high hopes that Wright could get "The Running Man" across the finish line, but the film stumbles right out of the gate.

Butt Boy is an exceptionally entertaining and weird film that defies every expectation. Everyone should see this tragic and thrilling story of a man who becomes addicted to shoving things up his butt.

Spaceman fails to grab our attention and, like Sandler's character, feels adrift. But as the journey towards the Chopra cloud — which Hanuš describes as "the beginning of everything" — continues, the conversations between spaceman and space spider grow warm, thoughtful, and even charming.

The title says it all: Safety hits recognizable beats and never really challenges its setup, making for a maddeningly, mystifyingly safe crowd-pleaser.

Olympic Dreams ‘s goal isn’t to inundate you with complex themes or ideas. Simplicity is key for this film – it all comes down to a man and a woman who want to spend time together and then…spend time together. Layering that with the gorgeous Olympic environment makes for an enjoyable, often mesmerizing watch.

It's rough around the edges when heavy special effects are required, yet proficient in shanty-shady tones and detectable darkness that hides secrets from one sequence to the next. It's an experience that lulls you in with hospitality and scored choral chants, plunging its stinger once you've become helpless beyond defense.

Lee does a commendable job as a first-time feature director, with a confinement sense of pace and framing that keeps "Hunt" thrilling and engaging despite its 131-minute runtime. ... Though "Hunt" does not break the spy thriller mold, it does provide plenty of thrills that should play like gangbusters.

This is not an adaptation of "Wuthering Heights," but the result of what happens when you're playing an approximation "Wuthering Heights" without a full grasp on the material but all the money in the world to bring your questionable imagination to life.

But when the smoke of its bombastic climax clears, what we're left with is an oddly sanitized, toned-down, and somewhat misshapen addition to Ritchie's oeuvre.

Unfortunately, no matter how hard A Christmas Story Christmas tries to replicate what audiences loved about the original, it can't help but feel overshadowed by the legacy of nostalgia that the 1983 classic inspires.

Sprawling and brutal, The Devil All the Time is not for the impatient or the squeamish.

This is a story of unlikely triumph. An uplifting coming-of-age tale about embracing whatever it is that makes you different from others, an example of how people can flourish past their inhibitions to thrive and shine when their talents are met with a nurturing environment. It’s a much needed serotonin boost that will have you grinning from start to finish.

If you meet the film halfway, "Never Let Go" becomes enjoyably compelling and eerie. Yes, there are a good amount of scares to be had here, as Aja has only perfected his sense of jumpscare timing as well as his knack for finding collaborators who can conjure up some truly unsettling demonic zombie creatures.

For all of Old‘s flaws – and those flaws are bounteous! – it’s a film with energy; a film with life. Shyamalan doesn’t appear to have a firm grasp on this material, but again, he’s trying! He’s trying to give us something different. And these days, that’s the sort of thing we should all be longing for.

Alexandra Daddario and Maddie Hasson are the Hammett and Hetfield of Marc Meyers’ eyeliner ensemble, with looks that kill and attitudes doubly deadly. For that, this critic can downgrade other complaints. It’s full of amplified unhallowed fun and fiendish shocks in the name of rock n’ roll…or maybe that’s just what “The Man” wants you to think.