Aside from a couple of vicious set pieces, however, this genre effort’s gimmickry results in derivative cornball melodrama. It would have benefited greatly from speaking louder while carrying a big stick.

All “Thriller," no infamy, presenting an uplifting, crowd-pleasing version of events that, for all its expert impersonations, is simply the palatable half of this sordid tale.

A deep dive into a pool of pretentiousness whose absurdity mounts with each new quasi-supernatural—and heavily symbolic—development.

[Its] sketchiness is second only to its inside-baseball humorlessness.

A Frankenstein-ian cine-monster that both reinvents and pays homage with all the clumsiness and unsightliness of its fabled creature.

A fleetingly recognizable tale of love, desire, obsession, regret, bitterness, and ire that, at every turn, plays as florid, horny, juvenile fanfiction.

Just a pale imitation of scarier bloodsuckers gone by.

There’s not much to latch onto here except the faint flickers of the better film this one, with more care and attention to detail, might have been.

An irredeemably obvious and one-note affair that says everything in its first 10 minutes and spends the remainder of its time vainly trying to drum up humor from a wan Weekend at Bernie’s-esque scenario.

May have things to say, but doesn’t have a clue how to say them.

Designed in every way to make one bleary eyed, it’s the new year’s dreariest, and goofiest, film.

A typical provincial British tale about everyday Englishmen and women banding together to accomplish a controversial task against long odds, it’s akin to a warm glass of milk.

Yanking unashamedly at the heartstrings, however, it’s a manipulative and uneven tune that strains to elicit the sniffles it so hungrily seeks.

To a greater extent than its franchise mates, Avatar: Fire and Ash is drunk on its own extravagance, unaware that it’s offering up nothing new that might justify its absurd Sturm und Drang.

The charismatic Pfeiffer deserves much, much better than this soggy stocking stuffer.

Largely faithful but unwilling to pick a funny or nasty lane, it’s the most impersonal film of its writer/director’s career, and a revolutionary thriller that too often falls back on establishment conventions.

Its most impressive feat, however, is finding a way to somehow be even duller than its predecessors.

Undone by storytelling that, however well-intentioned, coats its real-life tale in a corny Hollywood sheen.

Save for a single sterling jolt, his compendium of clichés is a case study in knowing a genre’s tricks but doing absolutely nothing of interest with them.

A thriller in name only, it has all the grace and cunning of an anvil to the head.

While its humor often sticks, its mayhem fails to land.

Mistakenly assumes that the woe-is-me routines of the rich and famous are the stuff of great drama.

Affords Julia Roberts with her best part in years as a professor whose role in a burgeoning scandal threatens to expose her deep, dark (related) secrets. She’s not enough, however, to make this wannabe-conversation starter coherent, much less insightful.

It builds to revelations that speak emphatically to social shallowness, pressures and prejudices—even if, in the end, its bombshells resonate as less surprising than inevitable.

A misguided wannabe-uplifting saga about grief, forgiveness, and keeping important memories alive.

This wannabe winsome fairy tale about confronting fears, atoning for sins, and forgiving oneself is a pile-up of preciousness.

A prototypical example of talking, ceaselessly and crudely, at the audience.

Stylized to the hilt but empty inside, it faithfully echoes the harried shallowness of its protagonist, whose desperate search for one big score to reverse his fortunes is all surface, no substance—the cinematic equivalent of a knock-off Rolex.

With nothing lurking beneath his character’s brawny exterior, and even less to his up-and-down tale, Johnson proves merely an adequate contender in his bid for dramatic credibility.

Rental Family, directed by Hikari, displays an almost admirable amount of restraint in its tear jerking, opting for quieter moments of grace rather than overdone emotion. In fact, it’s so restrained that Fraser’s Phillip Vandarpleog is not much of a character at all, and you leave itching for more of his inner life.

A work of tremendous look-at-me energy: all prolonged close-ups and studied master shots of actors weeping, screaming, laughing, longing, and freaking out with sweaty, grimy intensity.

Rife with symbolic weight, the action is thematically jumbled, and worse, it takes so long establishing its scenario that it never develops a sense of urgency and madness.

So rote that even an A.I. wouldn’t dare try to pass it off as original.

It won’t revolutionize the genre, and in fact would have benefited from considerable additional polish, but it’s just cute enough to warrant two hours of Netflix subscribers’ time.

Despite attractive aesthetics, its fights grow wearisome, especially as the material crosses the two-hour mark and, in the process, zooms past multiple potential endings.

The amusing thrills intermittently appear, but the novelty is gone.

A sluggish and monotonous country-ified neo-noir that fails to innovate and, worse, to utilize its magnetic leading lady and her capable co-stars.

The legendary star spends the majority of this misfire looking alternately bored and really bored—an emotion that viewers will find all-too-relatable.

The epitome of a knock-off B-movie—and one that’s only mildly entertaining when it shows its cards and goes full-on gonzo.

An aggressively fine intergalactic adventure whose earnest optimism and sweetness flirts—faithfully and dully—with hokiness.

An odyssey that—weird characterizations notwithstanding—is tiresomely unexceptional.

A would-be franchise re-starter that resembles a Saturday morning cartoon come to overstuffed, helter-skelter life.

Even the least violent passages of this follow-up are a tedious drag, courtesy of a story that asks nothing of its lead Charlize Theron and her underwhelming co-stars except endless, enervating moping.

The underwhelming result is similar to its signature beasts: a handsome clone that serves no purpose except to line its creators’ pockets.

Switching genres in a futile effort to justify the series’ continued existence, this misbegotten creation is a leaden and aimless bit of cinematic malware—not to mention the most convoluted 2025 theatrical release to date.

[Song’s] sophomore effort embraces a lighthearted rom-com template and then plays its material inaptly seriously—making it the cinematic equivalent of a sugary soda gone terribly flat.

It’s not improbability that dooms this Al Pacino-headlined genre throwaway but a crushing lack of originality and a form that makes its clichés even harder to swallow.

Cartoonishly gory and drearily unoriginal and predictable, it’s a collection of tired devices and shout-outs that plays like training wheels slasher cinema.

Merely a cheeky pantomime rather than an actual adventure in which one might get swept up.

Lipovsky and Stein elicit not a single solid performance from their cast, and their tale’s twists are illogical even by the material’s established guidelines.

Come for the healthy servings of capuzzelle, zeppole, and scungilli, but prepare to choke on the stale and squishy platitudes about family and tradition.

Rehashing clichés with formal polish but little novelty, this oater is a dour affair made all the grimmer by the fact that there isn’t a second of its 139 minutes that isn’t colored, in some way, by the on-set shooting that made it notable, and notorious, in the first place.

Lacks any sense of internal logic and is even lighter on surprising scares, dispensing only clichés that are as moldy as the haunted house in which his characters are confined.

Never coherently articulates (or draws connections between) its various concerns, proving a handsomely horrific vampire bloodbath that, ahem, bites off more than it can chew.

Part Die Hard, part wish-fulfillment saga for a post-2024 present that didn’t come to pass, it’s a fantasy of feminist and U.S. might that’s chockablock with implausibilities.

Block-headed from start to finish, it’s cinema in service of nothing more than IP exploitation.

Even at a brisk 85 minutes, it’s a bigger slog than a day spent mowing the grass.

Unlike its unique and fantastical title creature, it’s a commonplace monster mash which serves up only frenzied commotion and tired social commentary.

No Magic Mirror is needed to identify it as the lamest Mouse House re-do of them all.

An ignominious tour-de-force for the esteemed headliner, who gets to indulge in just about every caricatured mannerism and colloquialism in the stale La Cosa Nostra cookbook.

Burdened by a hazy and mannered style that drains it of urgency and feeling, it’s a self-conscious curio that’s less dreamy than dreary.

In trying to have it both ways, it succeeds in neither, in the process stranding its charming leading man in a saga that needed to be either goofier or more gruesome.

The Electric State" is just about as derivative as a modern blockbuster can be, and worse is that it skates along from one cacophonous and jokey set piece to another as if on rails.

For all its avenues of inquiry, however, it never quite gels into more than a collection of tantalizing but unfounded theories.

No matter a committed performance (two, actually) from Robert Pattinson, it’s an original that plays like a rehash—and an underwhelmingly unfunny one at that.

As sumptuous and vapid as a commercial for Dior or Chanel’s latest fragrance.

The main takeaway from this dreary dud, however, is that winning an Academy Award is no guarantee of continued big-screen success.

[A] bland stab at genre hybridization, whose sole accomplishment is falling flat at everything it tries.

An excruciatingly literal affair, not to mention a repetitive one, spinning in circles to dizzying, and ever-diminishing, ends.

Nothing—including a game performance by Dev Patel—can prevent it from tumbling down a bottomless hole from which it can’t escape.

No amount of narrative wackiness and star power can make [cabbages] or this Sundance Film Festival offering funny.

Devolves into such a morass of shrill chaos and affected symbolism that it’s difficult to feel anything other than exasperation with its central maternal crisis.

A rather obvious and pedestrian lesson, if one that’s embellished with a few memorably macabre sights.

Those with a hankering for willfully pretentious absurdity may find this festival entry right up their alley.

Diaz and Foxx still got it, the film constantly screams. The evidence on display, however, suggests otherwise.

It isn’t a debacle, but it also won’t have genre aficionados howling for more.

Its formal lyricism offset by a script that’s intolerably clunky, it’s an affected portrait of euthanasia and friendship that gets lost in translation.

Only receiving a multiplex release because Warner Bros had to do so in order to maintain the franchise’s theatrical rights, it’s inconsequential and hackneyed to the point of being forgettable.

A corny and turgid saga that should bring to a close Sony’s live-action “Spider-Verse,” if not the faltering genre as a whole, it’s an unspectacular affair that melds Marvel, Tarzan, and John Wick to depressing and forgettable ends.

Goes heavy on convincing musical performances to make up for the fact that it has nothing astute to say about its subject—in large part because it doesn’t seem to really know him.

The film’s dawn of the new millennium references—from AOL dial-up crackles to the “Macarena” dance—are absolutely riotous. But a lack of intriguing characters and failure to follow through on a great concept for a horror story leave Y2K with major software bugs.

Hot Frosty is absolutely absurd and awful, and I can’t recommend it enough.

A Yuletide misfire that lands like a lump of coal.

Despite winning the Best Actress (for its female ensemble) and Jury Prize awards at this year’s Cannes Film Festival, it’s a bold gamble that doesn’t quite pay off.

Affected and artificial to the point of aggravation, it’s an interminably draggy endeavor that gives the lie to its oft-spoken phrase, “Time flies.”

A narratively and emotionally disjointed journey, its fine lead performances, moving details, and racial commentary never cohering into an affecting spectacular.

Terrifier 3 is a juvenile splatterfest with an ignorable plot, and its performances veer from the competent (LaVera and Thornton) to the inept (most everyone else).

So determined to avoid satisfying fans that it’s borderline antagonistic, as actively hostile to genre conventions as its protagonist is to the world at large.

It’s quite a shortcoming when a documentary avoids so many elements of its own story that it proves less comprehensive and compelling than a Ryan Murphy drama.

Its formal showmanship unconvincing and off-putting, the film is a case study in the hazards of prizing style over substance.

What ensues is the exact same thing that happened to Mia Farrow’s wife, except minus the creepy surprise and, thus, any reason to pay attention.

Megalopolis is the kind of thing that has to be seen to be believed. Many will find it uproarious, others may locate some profundity, most will have to shake their heads. Whatever it is, it’s a lot.

What’s missing, however, is a payoff worthy of his set-up, resulting in a diverting thriller that drags its way to an underwhelming finale.

To say that it’s a fourth-generation knock-off of myriad similar YA sagas that have come before it would be an understatement.

There’s no mystery to Speak No Evil, and even less disquieting creepiness; instead, it’s a bludgeoning beast, epitomized by McAvoy’s Paddy.

A shallow and slender tale of lousy dreams, worse decisions, and painful regrets, all of it predicated on a lead turn that’s too one-note to wow.

Pulling on the heartstrings with tug-of-war-grade might, it’s a carpe diem fable that elicits more exasperated eye rolls than tears or laughs.

A pleasant and well-acted curio, and little more.