Benson’s film is a crafty yet subtle inversion of a stale genre. It moves the viewer and gets out while it’s ahead, aiming for maximum emotional impact over any flashy, absurd striving.

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.

An attempt at comedy that’s a genuine disaster.

It might not deliver hilariously fatal blows, but it’s smart and spikey enough to leave a pleasurably painful mark.

Surrealist absurdity of the highest (or is that lowest?) order, a comedy that’s so unabashedly out there that it practically dares audiences to reject it.

A sturdy continuation of this cataclysmic big-screen series, whose large-scale set pieces are rooted in the fear, anguish, and compassion of its appealing main characters.

So expansive and incomplete that it resembles a modern television series awkwardly edited into feature form.

The sole thing it instigates is frustration over its lethargic unoriginality.

In an age of bland, unimaginative cookie-cutter blockbusters, there’s something refreshing about a movie that puts a premium on looking and sounding badass.

[Depp] proves that he remains one of cinema’s most magnetic presences—even if his latest project doesn’t do terribly much with him.

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.

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

Great racing sequences aside, it’s so clichéd and unadventurous that it makes its source material seem deep by comparison.

A stately affair that’s never particularly intellectually incisive or revealing, and its stolid execution fails to transcend the material’s inherent staginess.

Just as readers will likely get lost in its gobbledygook subtitle, so too does Rudd get swallowed up by the consuming CGI insanity of his latest comic book extravaganza.

Just as busy, corny, and predictable as its 2003 iteration—as well as destined to swiftly pass into the cinematic afterlife that is both convenience store bargain bins and cluttered streaming platform libraries.

Destined to be passionately adored and despised, it’s a provocation, a stunt, a dare, and an experiment—as well as a bold one-of-a-kind experience that...shouldn’t be missed.

This movie is nice to gawk at, though the character models of Disney films are starting to get a little too interchangeable, a little too… well, on model. But as a piece of storytelling, Wish is as flimsy as a star decal stuck to a wall.

A reasonably faithful and effective thriller, light on legitimate frights but polished and unnerving.

Thanks to a couple of novel twists, it manages to outpace its predecessor in tension and originality—if not quite reinvigorate the franchise.

A high-octane action extravaganza sure to satiate genre fans’ delirious bloodlust.

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.

Messy and mirthless, it resounds as the death knell for this interconnected cinematic enterprise’s current iteration.

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.

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.

Silly and slipshod, it’s not the role that will catapult the acclaimed actor back into the types of projects he deserves.

Heed its title’s advice and just don’t.

It all resembles a lot of cosplaying, although its central failing is foregrounding cacophonous mayhem and middling melodrama over the drollness that defined the first two Ghostbusters movies.