Worst of all, these final moments of the film make it abundantly clear that as a storyteller and a filmmaker, McKay has absolutely nothing to say about the topics he's skewering, and he shouldn't have even bothered to try. This is a hollow waste of time and talent; a comedy whose idea of humor is simply pointing a finger at something and chuckling obnoxiously. We, as a society, don't just deserve better leaders. We deserve better satire, too.

It wastes the potential silver screen magic you could have by casting Hawke and McGregor as once-close brothers who are forced together by a death that they both have difficulty grieving.

The stakes aren't very high in this film, and there are a few cardinal cinema sins at work here, but overall, Your Place Or Mine ends up being a decent time by coasting on its merits. When it's strong, it's pretty strong—and when it's not, it shows.

The Gray Man exists "in the gray" of Hollywood action movies — not jaw-droppingly incredibly, not astoundingly bad, just there. It's a movie that's made to be half-watched on Netflix while scrolling on your phone. Its greatest disappointment is that it knows what it has — Gosling, a great cast, a lot of money — and it still ends up being less than the sum of its parts.

I suppose the best thing to say about Apartment 7A is that once it's over, you'll probably immediately want watch the much better Rosemary's Baby and wash the dull memory of this movie away.

Considering the majority of modern mainstream fare, we can look at "Bullet Train" as a mild win, a presumably high-budgeted action film that boasts no superheroes, no extended universes, nothing like that. But though this film clears that low bar, Bullet Train is only ever mildly fun, while reminding you of movies that are often a whole lot better.

When Mooney is in joke mode, sprinting from gag to gag without room to breathe, Y2K is a great time at the movies: a midnight movie in the truest sense of the word.

Amsterdam indeed has a number of charming scenes, a stunningly top-tier cast, and flawless cinematography. At the same time, it also fails to balance its wildly fluctuating tones, it rests its central narrative on plot contrivances, and the sum total of these shortcomings impedes the ability of its excellent performers to land the film. As a whole, Amsterdam is a movie that finds itself decidedly less than the sum of its parts.

While the material they’re working with may not be great, it is fun to see Louis-Dreyfus and Ferrell go head-to-head. Maybe they can try doing that again sometime in the future. With a better script.

It's a solid Friday night spookshow with solid bones and a divisive finisher — harmless horror entertainment that at least strives to be better than ordinary.

Spirit Untamed is inoffensive, which both makes it far more tolerable than most other DreamWorks Animation titles and also not terribly good in and of itself.

How to Make a Killing is a movie that sneaks up on you, and like Becket himself, doesn't simply stab you in the chest or punch you in the gut. Instead, it slowly poisons you, leaving you bewildered by the end as to how sick you and the country you live in has become.

Most of what Disney+ has released among its live-action fare is the kind of mid-budget movie that served as the Disney studio’s bread and butter in the 1990s. Godmothered, even with its connection to the Disney fairy-tale universe, is very much in line with those watchable, wholly unremarkable films. It helps that Jillian Bell and Isla Fisher do their best in predictable roles, but the roles being so predictable is hard to look past.

There are countless superhero movies better than this. Better written, better directed, better acted, better made. And yet, Let There Be Carnage has a weird, quirky heart, and sometimes, that's exactly what you need to see.

Greenland 2 still feels like a silly disaster pic at times. But it's a cut above the rest, mostly because it's less interested in grand spectacle and more focused on everyday people just trying to make it through another damn day. We can all relate to that.

This is very likely going to be a crowd pleasing movie, one to hoot and holler about. Beneath all that hooting and hollering, though, lies a psychologically rich tale that I believe will reward multiple viewings.

As a self-contained and satisfying yarn, this initial attempt at original franchise-building leaves a whole lot to be desired. As the most expensive feature-length trailer ever made, "Horizon" sets the stage for a much more interesting sequel where, hopefully, something of import actually happens.

The Instigators makes exceptional use of Damon, Affleck, and the rest of its impeccable roster. It's just a shame that even this cast can't make this add up to more than a movie that's, quite simply, the sum of its parts.

All in all, The Protégé is a dull assassin movie misfire that does no justice by Maggie Q and can’t be saved even by Keaton and Jackson making a meal of their scenes.

Jared Leto also proves to be a less-than-stellar leading man.

The premise of Luck — what if good and bad luck were engineered? — is too thin to make either element feel fulfilling. Instead, the film's most imaginative qualities feel flattened, while its attempts to lend a fresh, modern edge to these old-age concepts feel unsharpened and bland.

As social commentary, it's weak. As a comedy, it's unfunny. As a horror movie, it's not very scary.

Sometimes you want to see a fine-tuned work of precision pop art like "Jaws," and sometimes you just want to watch a CGI shark bite a guy on the ass. We, as movie-watchers, contain multitudes.

There are moments of dread and tension, and as the narrative wears on it goes to some commendably weird places. But by then it's too little too late, and the movie ends with us wishing that the characters really had done something — anything, really.

In the end, Gran Turismo can't escape the feeling of being actively held back at every turn — by the confines of video game conventions, by a painfully trope-laden script, or simply by the fact that everything this video game movie wants to achieve has already been done better before.

If "Cat Person" could just strip away all the nonsense and instead focus on its more realistic, genuine elements, it would be something special. Instead, it ends up being a mildly amusing mixed bag. 

Not many films have started this funny and uplifting, while ending this bleak and depressing.

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.