I'm all for rampaging animal movies. I'm all for ultra-silliness. I'm all for lots of gore. But after a while, the repetitive nature of Cocaine Bear began to wear me down, and the humor started to fall flat.

Willem Dafoe isn’t delivering one of his all-time performances, but he’s also not phoning it in. And these are, truly, good dogs. Togo is content in showing you those good dogs, and not much else. It’s a decent enough way to spend two hours, but only just.

In the end, Copshop is aggressively okay, and that'll probably be more than enough for most viewers. 

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.

Granted, the story leaves something to be desired, and it's missing one of the franchise's signature traits, but as someone who was underwhelmed by the trailers teasing Po's return, I walked away feeling adequately entertained.

Ultimately, The Marksman hits its generic target. It is the kind of film you watch on accident more than seek out, but you probably won’t regret the accident.

Bahrani's doc moves at a steady pace, but it also runs through bullet points rather than taking a deeper dive into Richard and his life.

Heart Eyes is solid enough to entertain. The jokes land, the leads are great, and the romance storyline is surprisingly sweet.

As a whole, House of Darkness is a very mixed bag of a film. The script shifts from nuanced to blunt depending on what minute you're watching, but the central performances add a layer of complexity that's often worth watching.

The Contractor challenges expectations in many ways, it just never goes quite far enough.

Song of the Thin Man is a slight improvement. It's got more laughs. And it's got an 11-year-old Dean Stockwell as an amusingly precocious Nick Jr.

The feeling persists that something is missing here. That Scott and company are merely lightly touching on things that require deeper exploration. Which brings me back again to that 4-hour director's cut.

65 mainly suffers from weak writing. Action movies don't need to be cranial to be fun, but there should be some stability in the plot. Beck and Woods really struggle to balance the tone, communicate character motivation, and generally craft a compelling story.

For the most part, Ricky Stanicky is an entertaining comedy with enough laughs to keep your attention, but ultimately, it tries too hard to pull at your heartstrings without enough authenticity to back it up.

The film is a self-serious, but consciously aesthetically pleasing, adaptation of a, frankly, silly soap opera. It doesn't rock the boat, but it doesn't plunge into the depths of womanhood, poverty, and classism as much as it thinks it does.

The Electric State is one of the most expensive films ever made, and one can see every dollar on the screen. The robots feel real, and their design, taken from Stålenhag's book, is fitfully unique. But one wonders why so much effort went into a movie that has almost nothing on its mind.

The film drags considerably — at one point I thought it was almost over only to realize there was a full hour left — but the over-the-top religious hokum is too fun to ignore.

Flora & Ulysses is, at its core, a very nice and sweet film. It’s low-key, but frankly, that’s fine. Sometimes, the stakes in life don’t have to get much higher than whether or not two struggling adults can find each other again, and whether or not a child can traverse a world without a strong family unit.

The comedy on display here is so forced and without charm that it made me wish Beckwith and company had abandoned any attempt at humor and instead tried to make Together Together more of a straightforward drama with occasionally funny moments. That’s the better version of this film, and you can see it trying to claw its way out from beneath all the quirks.

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.

If you're looking for a creepy children horror film to watch, "There's Something Wrong with the Children" will deliver that in half-measures. But there are enough bloody thrills and dramatic tension at play here to make it a fun romp for a Friday night and bowl of popcorn.

David Coggeshall's script has more than a few tricks up its sleeve, including some jaw-dropping twists that I will confess I did not see coming. It makes sense — the first film had a jaw-dropping twist too, after all. The twist feels fresh and exciting here, and changes the entire film in a way that's wickedly enjoyable.

The film — an ensemble feature whose premise rests on the challenges of shooting an aggressively bad action movie in the middle of a pandemic — succeeds in being funny.

"The Mystery of Marilyn Monroe" too often feels like it's merely scratching the surface and not trying to go much deeper. While I understand that the research of Anthony Summers is what helped shape this doc, Summers himself is far too present here, to the point where the documentary begins to feel more about him writing the book than it is about Monroe.

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.

Though you can see its twists coming from a mile away, Caine and Plaza's oddball dynamic and Roessler's visually stimulating direction makes "Best Sellers" a movie that's diverting enough to cozy up with.

Chastain gets some huge, showstopping moments – her final scene is genuinely terrific, and another scene that recreates Tammy Faye's on-air conversation with gay minister and AIDS activist Steve Pieters is effective and tender – but it would've been nicer if the movie itself was more worthy of her considerable talents.

While the film gets points for bucking tradition and trying to portray its scenes of fright mostly in bright daylight (shot with sharpness by cinematographer Angus Hudson), the scares just aren’t very scary. It doesn’t help that the pacing never feels right, with long stretches of the film focusing on things that would’ve been better served by being truncated.