A Man Called Otto has its moments, both humorous and heartwarming, and it works better than it should due to the strength of its performances. Unfortunately, it's also plagued by choices that blunt its overall coherence, seeming like Forster wanted to make an entirely different kind of film than the material dictated.

Kendrick and Timberlake are…fine, as they were in the first film. What holds Trolls World Tour back is what holds back so many films from DreamWorks Animation: they thrive on pop-culture references, loud humor, and little else.

Carl W. Lucas‘s script is never quite as smart or profound as it thinks it is, but it does manage to tap into an inherent sweetness – an underlying sense of humanity and acceptance that counter-balances all the chaos and occasional bursts of violence.

Ritchie doesn’t handle the messages he wishes to impart as skillfully as he could — instead, he’s preoccupied with revisiting the beats that made his acclaimed gangster films work best: the sleek style, the staccato rhythm, the casual hyperviolence that begets more violence and an occasional laugh.

At Midnight is caught between its reverence for what came before and the relevance of figuring out where it's going next. If that feels just a little too on-the-nose for a modern rom-com, well, maybe it's a good thing this one didn't cost the price of a movie ticket, after all.

Run Sweetheart Run is a passionate Los Angeles marathon that severs heads, scolds abusive norms, and gets loud about the ways society needs to reflect upon bettering itself. Shana Feste finds action-packed elegance in rage and reflection, borrowing from fast-moving midnight flicks that aren't afraid to challenge oppressive stigmas.

The lack of true scares may be a deal-breaker for some. And indeed, the overall outlandishness at work on the screen is going to flat-out annoy certain viewers. But then there will be those who revel in the audacity of Malignant, and boy oh boy are those folks in for a treat. This isn't even close to being James Wan's best horror movie, but cripes, it sure is a lot of fun. 

As far as Netflix movies go, Day Shift is inoffensive enough for your viewing pleasure. But I wanted more.

Train to Busan may have injected some life into the genre once again with its surprisingly heartfelt narrative, but Peninsula brings it back to those B-movie trappings. It’s not particularly clever or groundbreaking. But you know what? It’s pretty damn fun.

Marry Me feels like a satirical movie that missed the joke. It doesn't have a plot as much as a collection of rom-com tropes — Fake marriage! Reverse "Notting Hill"! Evil exes! School mathalons? — and is strung together by the whisper of a narrative structure. But while "Marry Me" is silly, poorly made, and inarguably a bad movie, I had dumb fun.

Clerks III is the director at his most mature and emotionally resonant.

It's a delightful surprise that the Disney+ sequel, Disenchanted, in spite of having a thudder of a title, is a moderately charming affair bolstered, per usual, by a phenomenal lead performance from one of our best living actresses.

It is all at once a gleefully raucous rock romp and a freaky horror story of possession and gruesome murder.

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.

Taken on its own merits, The Marvels is little more than another mediocre, easily-forgotten effort in a never-ending stream of products.

Although much of the pleasures of They Will Kill You come with the caveat that the movie doesn't quite lead anywhere memorable, one aspect that is fully fantastic and very memorable is Zazie Beetz.

The intentions of the movie are clear and admirable, but the execution of A Good Person, in the end, misses the mark.

To his credit, Edwards immediately injects "Rebirth" with a sense of stakes and tension that the entirety of the previous trilogy struggled to depict. But every time the plot kicks in again and writer David Koepp's script goes through the motions of a standard "Jurassic" movie, those dizzying peaks soon begin to flatten out into overgrown valleys.

It’s a film that feels like it was designed to rile everyone up, but it ultimately has nothing to say about anything.

Ultimately, Snow White is better than "Beauty and the Beast" and "The Little Mermaid" — by a long shot — but it's not as good as Branagh's "Cinderella" or Burton's "Dumbo." And, sadly, it overall still bears the boring sheen of a corporate mandate. This is another cynical enterprise, tapping into certain nostalgic images in the hopes that we'll pay for the same high we had as children.

The problem is that Eurovision Song Contest can’t dream of capturing the real-life weirdness of Eurovision. And while there’s some chuckles that can be drawn out of McAdams and Ferrell lip syncing a surprisingly catchy song while running through a hamster wheel, there’s only so much fun that can be made of a televised singing contest where weirder things have happened.

Jungle Cruise is, on the whole, not quite as enjoyable as Pirates of the Caribbean: The Curse of the Black Pearl, and of course nowhere near as good as the Indiana Jones franchise or even The Mummy, partly because it is entirely unable to shake loose of those reference points. But it’s still a solid summer action film, or at least a solid enough entry for this specific summer

My Policeman is a pretty flat adaptation as far as adaptations go, and despite some great elements in the film overall, Grandage's theatrical flair and passion doesn't show up anywhere in this movie, giving the picture an almost cookie-cutter feel to it in a way that comes off as strangely commercial.

George Clooney and Julia Roberts remain two of the best, most charismatic movie stars to ever grace the silver screen, and we're fortunate to have cinematic proof of their heat and chemistry. Ticket to Paradise just isn't that proof. It's OK. But it should've been better.

Relative to some other Netflix Originals, as well as some other recent romantic comedies, this movie has some pretty solid laughs. But there are a number of moments in this new film where the script backs away from being more provocative or difficult. It's a shame too because the cast (Hill included) seem able and willing even if the material doesn't always want to take the same plunge.

De Armas' dazzling screen presence is inarguable. But with a disjointed directorial eye and a messy script, de Armas is simply doing the best she can within the chaotic world of Monroe's life, but also the chaotic world the film itself forces her to be a part of.

If you're looking for a feel-bad movie with some absolutely stunning cinematography and an appreciation for the tenacity of the human spirit, then Against the Ice was made for you. 

All Jacked Up and Full of Worms is a movie that clearly doesn't care if it's enjoyed by the majority of viewers. While that is commendable to a certain degree, it shouldn't come at the cost of an undercooked and wasted narrative.