The Unbreakable Boy will satisfy the terminally vanilla moviegoers, but the rest will see right through its game.

The Monkey quite competently makes a monkey out of the human ego, though the comedy choreography is a few bananas short of a bunch.

Olivia Colman goes with this franchise like bread and marmalade, but the 'Paddington' charm of yore mostly goes out the window.

A committed Anthony Mackie and a game Harrison Ford deserve better than this sadly superficial excuse for a 'Captain America' film whose troubled production is written all over its face.

A harmless, unexciting directorial debut that tries to do too much too fast but is thankfully propped up by an always delightful Ke Huy Quan in his first ever leading role.

Despite some innovative ideas about language and body horror, Whannell's 'Wolf Man' is a disappointing follow-up to 'The Invisible Man,' struggling with uneven effects, choppy editing, and underdeveloped themes.

The buck unfortunately stops at the inspired casting, reducing 'One of Them Days' to another destiny method comedy that might find viewers, but not an audience.

It may not reach the heights of Disney classics of yesteryear, but Mufasa: The Lion King is a movie worth watching for the clear attempt to turn it into something it could never have been.

Well-equipped to succeed but ill-prepared to do so, 'The Lord of the Rings: The War of the Rohirrim' drowns its potential in a far too hesitant narrative.

A stay-at-home mother's slow descent into lycanthropy serves as a metaphor for maternal struggles in this uneven adaptation that never fully commits to its provocative premise, despite Amy Adams' raw and transformative performance.

Its unique narrative approach stumbles as often as it shines, but an endearing mission statement makes 'That Christmas' a worthwhile family watch.

A grandiose action-comedy, with an over-reliance on CGI, and not a crumb of Christmas charm.

Flashes of narrative inspiration and solid performances are not enough to rescue Allswell from mediocrity, as momentum remains in short supply.

Saturday Night plays with the sharp erraticism of an improv comedian's neurons, but it quite simply doesn't believe in itself the way Lorne did about the film's subject.

In Joker: Folie à Deux, director Todd Phillips's attempt to blend courtroom drama with musical elements results in a disjointed and sluggish narrative that fails to capitalize on its potential.

The breathtaking visuals and bloody scares are not enough to bring this adaptation back from the dead.

George Clooney and Brad Pitt fail to bring the big guns out on 'Wolfs,' but are just the right amount of endearing for streaming success.

It pulls too many punches while being too keen on delivering others, but Speak No Evil's mighty cast and swath of subtleties seal a fine deal indeed.

Netflix's The Union is a formulaic spy thriller that wastes its promising premise. Despite the star power of Mark Wahlberg and Halle Berry, the film suffers from a predictable plot, mediocre action sequences, and shallow character development.

While surfacing sometimes thanks to a decades-old friendship, 'The Instigators' remains a tonally chaotic sinking boat.

One of the best video game movies ever is buried far, far, far beneath this foul, foul, foul thing.

Perhaps poetically, Hathaway and Chastain's instincts are the immaculate saving grace for those of 'Mothers' Instinct's story.

Powell's screen presence is undeniable. Unfortunately, so is the lethal lack of confidence with which 'Twisters' tends to present itself.

Beverly Hills Cop: Axel F struggles to balance nostalgia and reinvention, with Eddie Murphy's charm unable to save it from a muddled script.

Bad Boys: Ride or Die leans heavily on nostalgia and fan service. While Smith and Lawrence's chemistry remains, the film's predictable plot and over-reliance on past glories make it a forgettable experience for all but diehard fans.

The excitement with which one can anticipate Ishana's next directorial effort, is matched only by the dread of anticipating her next screenwriting effort.

While 'Furiosa: A Mad Max Saga' is highly entertaining, it fails to capture the chrome-painted perfection of 'Mad Max: Fury Road.' Instead, we end up with a bloated epic that focuses too much on world building and not enough on its titular character.

While 'IF's colorful creatures and set pieces might offer a temporary distraction, the weak script and superficial world building crumbles into dust at any sign of scrutiny.

The Strangers: Chapter 1 just feels like an overstretched introduction.

Jerry Seinfeld's directorial debut is a family-friendly, overstuffed, unoriginal comedy film where the weakness of its central plot is masked by myriad celebrity cameos, including 15 different stand-up comics, characters all but doing backflips on screen and a lot of product placement.

Its abstract foundation is incredibly fertile creative ground, but 'The People's Joker's nuclear, self-indulgent execution is the downfall to its buzzworthy rise.

There's a lot of compassion in 'Back to Black' for its troubled subject, but its best intentions become its worse mistakes when it fails to direct any semblance of a critical look at the multiple tragic events in Amy Winehouse's too-short life.

Mixing Nicolas Cage's unique talent for weird horror movies and a post-apocalyptic family drama story, Arcadian stretches thin in too many directions. Fortunately, the movie’s unique creature design makes up for every plot mistake.

Doug Liman's 'Road House' weighs in with sizzling performances, a hearty helping of great action, a script that needed a much longer timeout, and the most self-assured identity crisis we may ever see on the small screen.

As it smiles and waves to the rest of the genre like a good little rom-com, you may catch a hint of a gleam in its eye and wonder, very briefly; is that who Irish Wish really is? Or did director Janeen Damian and screenwriter Kirsten Hansen just pull off one of the most maliciously untheatrical, galaxy-brain plays of the year?

There are sporadic sparks of magic in 'Damsel', especially when it's navigating its better-fitting element of action fantasy rather than fairytale.

You can almost hear the desperate screams of a far funnier, far more profound script in the shallowness of the 'Ricky Stanicky' we got, even if John Cena's efforts to drown them out aren't entirely fruitless.

Beautifully crafted but tragically underbaked, 'Spaceman' had the blueprints for Adam Sandler's best-ever dramatic vehicle, but wound up becoming the most unrealized one.

Argylle isn't a triumph and it's oceans away from Vaughn's best, but it manages to hold on by a thread to the essence of what makes the filmmaker's work shine.

More a sacrifice bunt than a homerun, 'The Kitchen' is a commendable, if tame, addition to the dystopian sci-fi library that gets by on pure heart.

A beautifully shot film that doesn't quite conquer the big screen.

There's a lot of heart and good intentions in Next Goal Wins but wonky pacing, a confusing emotional arc for its main character, and a handful of uninspired scenes come close to rendering all that useless.

The Marsh King's Daughter is yet another addition to the forgotten library of inconsequential and underdeveloped action thrillers.

Five Nights at Freddy's fails at being scary. The premise and setting should've made it an obvious horror win, but some baffling story choices and poor execution makes it feel like a missed opportunity.

The spirit of Stuart Gordon is alive and well in Suitable Flesh, with Joe Lynch picking up the baton and delivering both an ode to his inspiration and a riotous horror comedy in its own right.

The tonal balance isn’t an easy one to pull off, and filmmakers vastly more experienced than Crocker have tried and failed, so praise is due to the key creatives for taking something that sounds familiar and perhaps even formulaic on paper, but repainting it as an engaging, emotionally-driven genre film that both is and isn’t what you think it’ll turn out to be.

Dangerous Waters' starts off as one thing, but barrels directly into an absurdly entertaining third act when it decides to throw the shackles off and become something else entirely.

The ambition often outweighs the execution, but Totally Killer is still a fun and bloody riff on several different genres at once.

Hercule Poirot comes out to play again in this horror-leaning murder mystery which, despite looking great, is held back by and underwhelming plot.

The Expendables is far from high art, but it’s safe to say the saga has never hit a lower point than it has here, a crushing disappointment for anyone genuinely hoping for the return to form that was promised and demanded.

Despite Fuqua firing on all cylinders and Washington making the most of what will probably be his final outing as McCall, the narrative foundation of The Equalizer 3 is sadly far too rocky for even the best in the business to breathe the proper life into it, only managing gasps of what could have been if the script (and, again, the possibly-guilty final cut discussions) hadn’t been so gutless.

Even though Gran Tursimo falls short of the bar in terms of being the Rocky of race car movies that it could have been, due to the character development falling short in all of the scenes that take place outside the racetrack, it’s still an enjoyable ride, overall.

While the film never really finds its voice outside of the source material, lacking development and a finer tuning to its new medium, 'Red, White & Royal Blue' might still be the most deliciously fun and excitingly sexy romcom of the year.

Without a shadow of a doubt, it’s very much a costly, star-studded, explosive attempt to build a brand new IP from the ground up that the company can call its own, but it’s impossible to shake the feeling that we’ve walked down this exact road many times before. Make of it what you will, but the end product is exactly what you think it’s going to be, for better or worse.

The Last Voyage of the Demeter makes a decent attempt at reinventing the Dracula mythos, but foregoing the early tension in favor of all-out action proves to be its undoing in the end.

Ben Wheatley's blockbuster debut reduces him to an anonymous bystander in a sequel that's inexplicably weaker than its predecessor. If we get 'Meg 3,' then somebody needs to remember these things are supposed to be fun.

A marked improvement over the similarly-titled 2003 film, 'Haunted Mansion' nevertheless falls at too many self-imposed hurdles to make the most of what should have been a self-sufficient recipe.

Bird Box Barcelona expands the mythology in several new and fascinating directions, but it also makes the mistake of posing several bigger questions that it doesn't seem to want to answer.

Indiana Jones and the Dial of Destiny is a solid action-packed blockbuster that ticks all of the franchise's required boxes, even if it isn't quite a farewell worthy of a cinematic icon.

Extraction 2 is everything you'd expect it to be; bigger, bolder, brasher, louder, and more spectacular. Unfortunately, it peaks way too early and fails to recapture that early momentum.

The Flash is good, and occasionally flirts with excellence, but anyone who goes in heading the game-changer that was promised may be left feeling a touch short-changed.

What an annoyance to have a Transformers movie with well-drawn humans, only to have them choke on the exhaust fumes of franchise expectations.

Kandahar finds Gerard Butler doing what he does best, and while there are some admirable attempts to deviate from formula, the end result isn't going to be regarded among the action hero's top tier.

If you like the 1992 classic you might enjoy this update, but if you don't have the time to kill, it's probably worth sticking to the original.

Fast X doubles down on everything longtime fans have come to know and love about the franchise, but anyone who isn't sold on the saga at this stage isn't going to be won over.

You can only chip away at reality so far until everything in 'Hypnotic' starts to feel sketched and feckless. Any type of resolution reads as either disingenuous or completely unearned, as viewers were never invested in the characters' emotional journeys in the first place.

A mixed bag of elements, Renfield resonates with eclectic vibes. There was a potential for a huge hit here, but there’s just occasional intrigue and leisure that relaxes the audience to a considerable extent without coming close to greatness.

Vapid and meaningless, the consumer-friendly 'Air' tells a revolutionary story in the blandest, slickest way possible.

Shazam! Fury of the Gods is a substantial step down from its predecessor, hardly ideal when the future of the entire franchise likely depends on it.

Operation Fortune: Ruse de Guerre delivers exactly what you'd expect from an R-rated Guy Ritchie spy caper with Jason Statham in the lead role, with the offbeat and energetic espionage adventure worthy of at least a sequel or two.

We Have a Ghost shows plenty of ambition as writer and director Christopher Landon broadens his horizons, but it never feels anything more than a series of disparate parts failing to come together as a satisfying whole.

Cocaine Bear almost runs its premise into the ground, but delivers some outrageous rampage sequences and laughs along the way.

Ant-Man and the Wasp: Quantumania is the weirdest, most fun movie of the three. Yet, it's bogged down by serving as another stepping stone on the road to Marvel's Multiverse Saga.

Only M. Night Shyamalan could make an apocalypse film that has audiences rooting for the end of the world, if only to bring the running time of 'Knock at the Cabin' to a merciful end.

Despite some third act wobbles, A Lot of Nothing marks a strong, stylish, and suspenseful debut from co-writer and first-time feature director Mo McRae.

Tried, tested, and uninspiring - this four way relationship drama goes over old ground.

Landscape with Invisible Hand is more social commentary than alien infused rom-com. With some solid performances from Chloe Rogers and Assante Blackk, this adaptation of the M T Anderson novel will offer audiences food for thought.

If you’re looking for a glossy, breezy time, 'Shotgun Wedding' will be right up your alley. If you’re looking for chemistry, substantive humor, and meaningful filmmaking - look somewhere else.

Fragmented, incoherent, and disjointed in the worst way, ‘Bad Behavior’ allows Jennifer Connelly and Ben Whitshaw a narrow escape. Writer and director Alice Englert wastes some world class talent, in a story which never really hangs together.

Combining Amblin-style adventure with grind house exploitation theatrics, 'Kids vs. Aliens' is the ultimate 80s man-child movie.

In a completely calculated way, this feature length stab at the MTV show remains intentionally average and overtly unchallenging – as it never seeks to overshadow the imminent new entry from showrunner Davis.

I Wanna Dance With Somebody doesn't do any part of Whitney Houston justice, except for maybe her voice.

As an experience, Avatar: The Way of Water is second to none. In terms of the storytelling, though, James Cameron has fallen into the exact same pitfalls as he did on the first visit to Pandora.

Unfortunately, Smith’s would-be comeback vehicle is hamstrung by a weak script, paper-thin characters, and gets caught too often being overly earnest rather than emotionally honest, something that ultimately taints the integrity of the endeavor and will leave audiences disappointed.

Violent Night delivers everything that was promised, and it's destined to find long-lasting life as a cult classic, but there's barely anything of note beyond the superficial.

With the best will in the world, audiences looking to enjoy some festive movie moments this year, should avoid Christmas at the Campbells and opt for anything else. Not even the presence of Long should factor into the decision because honestly, he looks like he would rather be anywhere else but on screen.

Disenchanted shows what life was like after happily ever after, but it doesn't build on themes that made 'Enchanted' great.

The Whale is a frustrating watch as Aronofsky doesn’t seem to trust the actors or the audience, squashing the potential to tell an intriguing story.

Mark Rylance is wasted in this ponderous piece of arthouse introspection.

Ultimately, Stars At Noon provides an interesting look into an important time in history for Nicaragua from the perspective of a French director who has no direct involvement with the reality she is representing. Unfortunately, the conventionally attractive hetero-normative romance between the leads, and the espionage shenanigans they get up to, are wildly uninteresting compared to the gravitas of everything that is going on in the background.

Black Adam is nowhere near the game-changing revolution for the DCEU that was promised, but it's a solid introduction for Dwayne Johnson's antihero nonetheless.

When the movie doesn’t meander and its filmmakers understand how to use their time, V/H/S 99 buzzes with creative energy. At its best, it has all the pleasure of popping in a tape late at night and letting the television light wash over your room.

This supremely talented ensemble cast are unable to save 'The Son' from being an overly emotive disappointment.

Significant Other is a substandard supernatural hybrid, which wastes the talent of all those involved. Maika Monroe and Jake Lacy may work hard to breathe life into this ponderous fireside fable, but often fall short through no fault of their own.

A blood-soaked tale of morality and vengeance backed by a hard rocking soundtrack, what 'The Retaliators' lacks in depth, it makes up as a grimy horror thriller sure to appease grindhouse fans.

The Sanderson sisters are devoted to their act but their campy return to Salem is far from bewitching as it tries to find its way amidst a listless plot and the repeated detours down nostalgia lane.

Anyone going into this film should be aware it is no intellectual exercise. Any capacity for rational thought, beyond guns and ammo, should be left outside until those credits roll. Even though the dialogue is passable in comparison to other films of this genre, those expecting an actioner on par with Aaron Sorkin would do best to avoid it.

With gripping performances from the Crovetti brothers to keep us intrigued enough to keep us watching until the end, Goodnight Mommy still manages to unmask some thrills — even if the strength of its source material ties it down.