Poor conclusion aside, Him clearly indicates that Justin Tipping is a filmmaker to watch, especially if he wants to stick around in the horror genre. Best of all, though, it serves as a wonderful showcase for Marlon Wayans, who has never really been as good as he is here, turning in a performance that's both incredibly fun and undeniably unsettling. I just wish the rest of the movie could match his energy.

Heroes Rising is an impressive piece of fan-service with beautiful character work and some of the most inventive and dazzling fight sequences that the series has ever seen. But a recycled plot and villain threaten to doom the film to the lower echelons of forgettable anime movies.

It works as a loving homage to the era of slap-dash, go-for-broke ’80s horror, but it ultimately adds nothing to the conversation.

The saving grace of Murder Mystery 2 is that Jennifer Aniston and Adam Sandler have a renewed sense of charm, bouncing agreeably off each other as a married couple struggling to revive the unique magic they found in their first adventure.

As a movie, Unfrosted is weak. As a delivery system for a barrage of funny, silly jokes, it's part of a nutritious breakfast.

Devotion is far more interested in what's happening on earth rather than in the sky. It's a character drama with occasional bursts of action, and while there's certainly nothing wrong with that, the film ends up rather muddled. You can see the bones of something greater here, and Dillard remains a filmmaker worth paying attention to.

Dark Harvest is ultimately a film of style over substance, but hell, that style sure is grand.

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.

Rather than the gritty drama of the first film or the delightful fantasy of the second, we instead get a dull romance with paper-thin characters, lame voice-over narration, and rather clean and puritan dance numbers, resulting in a film that feels more like an advertisement for the "Magic Mike Live" show than a movie.

Deep Water has its pleasures, some of which are of the inexplicably daffy variety . . . And when you compare Deep Water to ... well, just about every other movie available right now, either in theaters or streaming, it really does feel like a singular sensation.

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.

Home Sweet Home Alone runs counter to whatever standard expectations any audience member would have about what to expect from a film in this franchise. To those of us who disdain the original, that actually works in its favor for the first hour. To others, this film may be alienating and perplexing. But it's a pleasant holiday surprise if you're willing to go with it.

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 Wolf Man wraps things up with an ending that's just a bit too neat and tidy, viewers will be left to reflect on the opportunities missed rather than the bold roads taken. Fortunately, even a modest Whannell misfire is well worth a watch, particularly when so much care and effort has been poured into every facet of its construction. There's still plenty of enjoyment to be had here ... as long as you don't expect this monster's bite to match its bark.

For a story as surprising and unpredictable as the true GameStop story was, it's frustrating to see Dumb Money follow such a familiar structure. What it does do especially well is its exploration of the community aspect of the situation.

Altogether, Ant-Man and the Wasp: Quantumania is a fun MCU entry that finally starts to feel like the new Saga is pointing somewhere interesting.

Antebellum feels curiously unfinished. Rushed, even. You catch a glimpse of what the filmmakers are going for here, but never entirely buy it.

Blackk makes for a great protagonist, and Haddish gets some big laughs here and there, but the rest of the cast feels slightly lost, primarily because the story introduces them only to then have them fade into the background.

Hustle manages to get by on charm and style, and Sandler gets to remind us again that he has range. "Hustle" isn't a slam-dunk, but it still takes it to the hoop.

It's slick, solid, and filled to the brim with talented actors digging in and making the most of a not-entirely-nutritious meal.

The saving grace of the film is the performances.

Austin Zajur and Siena Agudong make for such a cute high school romance prospect that the movie doesn't feel like a total wash. Kevin Smith is still good at constructing funny dialogue and crafting characters you like to watch.

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.

Nobody seems to think that if it follows a paint-by-numbers Wick formula, that’ll be enough. It’s not, and that’s a damn shame, because Bob Odenkirk: Action Hero deserves better.

Despite the film's clear edict to include as many tasteless jokes as possible . . . Quasi possesses a strangely disarming, hangout quality, leaving it feeling ultimately harmless and even a little bit friendly.

It is superior in acting, lighting, pacing, and clarity. It's also raw and confrontational in a satisfying way. But it's also a glorified remake more than it is a sequel. "Platform 2" is not an expansion, but a retread, nihilistically sifting through violence and cannibalism to get to a point it repeated over and over. Second verse, same as the first. 

Whenever the film was on the verge of losing me, O'Brien's steady, remarkable performance brought me back. He really is that good here, and honestly, that might just be enough.

While Osei-Kuffour Jr. is able to conjure up more than a few disturbing moments – everything involving the mysterious twitchy man is great, aided by effective sound design full of rattling bones – Black Box loses steam rather quickly.