Peter Rabbit isn’t without its odd delights, and while it won’t serve as the definitive version of Potter’s adoring, timeless creation, Gluck’s film may find a way to burrow into your heart.

It’s an inspiring story, but Eastwood can’t find the spark to bring it life.

Outside In is not a story filled with events or even big moments, but, instead, accumulates its momentum through the numerous small decisions that eventually bring our leads to a hard won understanding.

Ostensibly aimed at an adult audience that craves equal parts romance and raunch, Fifty Shades Freed appears to have been written by a teenager – and not just because of its groan- and giggle-inducing dialogue, lack of emotional investment and thinly drawn characters. There’s no knowledge of any element of how the world functions, particularly in its approach to relationships.

Neither romantic nor comedic, When We First Met is almost too vapid to be aggravating. After watching it, you might be tempted to hunt down a time-traveling photo booth of your own so that you can undo your mistake. Luckily, this movie is so shallow you probably won’t even remember it after you wake up tomorrow

The murky moral dimension of the Black Panther world is wonderfully rich and complex and it gives great pause for its new king to reconcile. And yet, all this intricacy is resolved in rather simplistic fashion in the end. It’s just a superhero movie, one might say, but if you’re going to set up this fertile ground, you might want to really follow through.

The greatest benefit of the shock release of The Cloverfield Paradox is that going in cold makes the most out of the film’s bonkers turns.

It’s thrilling to have any semblance of Studio Ghibli back in our theaters and Mary and the Witch’s Flower will momentarily satisfy that hunger, but will leave you wanting more.

It’s the pair’s bond that helps to make the film more interesting than just a study of wealthy murderousness (though it’s great at that too). It’s also a portrait of female friendship that, despite the dark places it goes to, proves to be oddly touching.

Reitman is often at his best when he can join forces with an exceptional actor, and Theron once again helps with the heavy lifting.

For fans of the franchise, The Death Cure is a fairly serviceable finale.

Phoenix is almost otherworldly here. It’s his charismatic performance that often carries the film through its repetitive moments as he expertly takes Callahan on an emotional roller coaster filled with the highest highs and the lowest lows.

Gudegast does provide a good amount of grimy atmosphere to his L.A. setting, and the action sequences keep you involved even as the running time starts to get gruelling. But, at 140 minutes, Den of Thieves gets too caught up in its own indulgences, and that’s a crime it can’t escape.

The real-life heroes who bravely risked their lives deserve something better than the forgettable mediocrity that is 12 Strong, and truth be told, audiences deserve more too.

The country-fried romance written and directed by Bethany Ashton Wolf becomes a victim of self sabotage as it nears its (predictable) conclusion, removing any good will it created in its first half.

With the deliberate pacing and spare approach, some audiences may find Vazante and its austerity a taxing experience, particularly in its first half. But just as Virgílio awakens Beatriz, we’re drawn into both their worlds for the remainder of the movie.

As a film, Saturday Church could so much more, and its disheartening shyness keeps it from achieving greatness. A few choir boys short of a hallelujah, Saturday Church feels more like a subdued sermon.

Doueiri wrestles with the complexities of history and morality without ignoring the humanity of the individuals caught in this frightening maelstrom of a story.

With a filmography as curiously inconsistent as Collet-Serra’s, The Commuter is a wild, mostly entertaining combination of the director’s general bag of tricks. It’s over-the-top and fun, even if in its own fleeting way, and by the time you reached your location, you don’t feel swindled.

Simmons is naturally charming, but that only goes so far in a film strung together by half-baked characters and a gimmick.

Unlike traditional Westerns that depict a historical moment. the movement of people and money in Europe remains in flux, and consequently, so does this new breed of cowboy.

Paul King‘s marvellously rousing, deeply satisfying sequel — is not only another warm, friendly, massively good-natured family-friendly film, but it’s deeply caring, here to give everyone a light and entertaining diversion during these taxing times.

It’s an insightful film that delivers an honest portrait of four girls trying to navigate high school, expectations, friendships and their oftentimes heartbreaking need to be desired and loved.

Where In Between does succeed is in showing the relationship between the women and in refusing to judge them for their choices.

What makes Birdboy: The Forgotten Children so effective is the ability to turn the innocent into the macabre.

Bright tries to create a unique and dynamic world with the juxtaposition of harsh police life, crime and modern life contrasted with this imaginary magical realm, but it’s contrived, unconvincing and most of all calamitously preposterous.

This whole endeavor never becomes as bewitching as it should be. It’s never more than adequate, and while P.T. Barnum will go down as one of the most interesting men in history, this film won’t pull off the same feat.

Jumanji: Welcome to the Jungle is, at once, invigorated and underdeveloped, both rousing and slightly underwhelming.