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.

Come And Find Me is a fine-and-dandy missing persons thriller with a romantic twist, suitable for those whose Aaron Paul senses tingle upon reading the film’s synopsis. First-time features are anything but safe bets, so a cheers is in order for Whedon’s accomplishment – no matter how small.

Black Widow isn't going to go down in the history books as top-tier Marvel Cinematic Universe content, but it's not too bad at all.

The movie also deserves a watch because of the incoherent style. It’s like getting to see two films for one. If you’re in the mood to see a lighthearted movie about childhood and becoming an adult, it’s got you covered. And if you want a gory slasher film with plenty of dark humor, it has you covered there as well.

Blood Red Sky both is and isn't the movie you think it'll be, but it's perfectly suited for Friday night entertainment.

Scares are often on the generic side (pitch-black doorway, hand reaches out), and while some wild effects work enjoys the zanier side of Hell’s mouth opening up to spit venom across Earth’s surface, it’s missing the masterfully torturous tone that Wan’s universe otherwise aims for.

It’s never stuffy – J-Rock guitar solos wail over science research montages – just a bit overlong and too involved in the judicial process.

Aaron Taylor-Johnson deserves more credit as an actor, because he's the only reason this Iraq War thriller hobbles steadily on two legs.

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.

Adopt A Highway seems as confused as its lead character, wandering around and never quite figuring out what story it wants to tell.

Cars 3 isn’t remarkable or groundbreaking or even all that memorable, but it’s a rock-solid movie that leaves a far better taste in the mouth than its critically panned predecessors.

The fuzzy residents of the 100-Acre Wood cutely convert to the real world in Christopher Robin, a mildly entertaining film that'll remind kids and grown-ups alike of the fun that can be had in doing absolutely nothing important.

Extremely Wicked wobbles between its two best, but unfortunately, contrasting features: Efron’s eerily seductive performance, and the psychological experience of loving a camouflaged monster.

While not a home run, this comedy/drama might still be worth a look for fans of any of its charismatic stars (especially Slate and Kazan) and for those looking for a comedy that at least attempts to infuse darker elements in with its awkward laughs.

Ouija: Origin Of Evil would have been better than Ouija with even a quarter of the screams evoked, which makes the tremendous jump in quality quite refreshing despite derivative storytelling.

The Little Hours is saved by Fred Armisen and Kate Miccuci, the only performers who don't suffer from the film's one-note delivery at some point.

Many have done worse with similar setups, which isn't exactly a glowing recommendation - but hey, if you love Pierce Brosnan enough, you should be fine with I.T.

Gifted may be bogged down by some generic dramatic beats, but young Mckenna Grace is the beam of sunshine that keeps us from losing faith.

You can’t help but admire the ambition on display, even if it ultimately falls just a little short.

Loving has Jeff Nichols' trademarks but it lacks the nuanced storytelling that made his previous films so successful.

Scott’s latest is a thrill-ride that blasts through celestial carnage, while building a bigger Alien world that might not be 100% necessary. Out of all the films in the franchise, Alien: Covenant has the least stand-alone potential – but dammit if it’s not a wild, warp-speed-killing-machine adventure.

A fantasy in nearly every sense of the word, Rocketman reaches for and grabs hold of the stars so often that the dazzle occasionally becomes too much to handle.

Mother/Android isn't the sci-fi movie you think it's going to be, or even the movie it probably wants to be, but it's nonetheless a solid first-time feature from from writer/director Mattson Tomlin.

Aaron Sorkin’s indelible wit and naturally fervent performances from Jessica Chastain and Idris Elba prevent Molly’s Game from drawing dead.

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.

How does a movie about the galaxy's most dashingly roguish outlaw end up being the safest Star Wars to date?

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.

Obvious and sometimes aggravating no doubt, but still effective in raising blood pressure given a backstory so instilled with old-school cultism.

The Forgiven should have been an epic morality tale with acres of grey area, but somehow misses its mark, forever scuppered by a cliched ending and a conclusive lack of closure for audiences.

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.

Fantastic Beasts: The Secrets of Dumbledore gently levitates rather than soars, hums quietly under its breath when it should sing, and mildly entertains and amuses when it should have fans gripping the edge of their seats as thing hurtle to a breakneck climax.

There’s definitely something vastly superior that was agonizingly close to being unleashed, but as it stands, Kosinski and his collaborators have delivered a solid summertime Netflix original that’s destined to play extremely well for the next couple of weeks, albeit one you almost certainly won’t hear anybody talking about six months from now.

The Strangers: Prey At Night is a feature-length homage to Carpenter's best, and albeit familiar in structure, Johannes Roberts' execution strikes with brute ferocity.

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

While watching 1917, there’s a sense that you’re waiting for a fresh take or an interesting point that never comes. Audiences don’t need this movie to tell them that war is hell. But for those striving to get closer to experiencing that hell, Deakins and Mendes achieve something few war films before them have. They just needed a grander reason for doing so.

The Meg delivers the Statham-versus-giant-shark battle moviegoers are promised, but does so in a way that still manages to be underwhelming.

Don't Kill It is some DIY insanity that leaves more scattered limbs than an overturned Halloween decoration truck.

Beckett is a solid Netflix effort that offers a throwback to the intense political manhunt thrillers of the 1970s.

Overall, this isn’t a bad movie, just one that feels at odds with itself. Despite its flaws though, American Made is a fun enough ride and features yet another winsome Cruise performance.

Phantasm: Ravager gets by on the power of nostalgia and franchise completion, but is a bit rough around the edges even when compared to other Phantasm films.

Life toes a line between underwhelming and just-good-enough, but performances help elevate an otherwise generic sci-fi clone with nothing new to add.

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

While Snatched stars big names in Schumer and Hawn, the ones you'll be remembering are Cusack, Meloni and Barinholtz.

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.

A simple and simply satisfying seal, El Camino: A Breaking Bad Movie will, in no way, tarnish the alchemic legacy of its TV precursor, though it doesn’t do much to enhance it.

Though flawed, clunky and a bit Instagram-chic, Go North is an intriguing parable about how the next generation deals with the mess baby boomers have left behind.

Shang-Chi and the Legend of the Ten Rings isn't top-tier MCU, but it's a solid origin story anchored by two fantastic performances from Simu Liu and Tony Leung, as well as some of the franchise's best action.

With U, Belle could be a prescient reimagining of real-kei for a new age, but it never fully escapes the tired conventions of homage it so desperately wants to fit into this future.

As far as introducing us to the live-action world of Pokémon, Detective Pikachu is a critical hit. If only its human characters were as vibrant and interesting.

Attack Of The Lederhosen Zombies doesn't quite live up to its eye-catching name, but still offers enough undead snowboarding mayhem worth a horror laugh.

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.

Wildling may swerve last-minute into a less dense finale, but Bel Powley's performance is worth this fierce and untamed coming-of-self arc that's so exquisitely female-centered.

Charlie Says may not reach deep enough into the horrors that birthed the Manson Family, but as an exhibit of pathetically prophetic garble used to dehumanize and control women, it’s attentive and provocative.

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

Idris Elba makes a dynamite action star, but this politically charged thriller doesn't give him the support he needs to become the next Liam Neeson.

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.

Fantastic Beasts is both a slice of magical monster mayhem and severely underwritten storytelling, landing somewhere between “pretty passable” and “zany fun” – but certainly nothing fantastic.

Once again, the director and his co-writers Gemma Hurley and Jed Shepherd have made the absolute most of the minimal tools at their disposal, wringing a surprisingly robust hybrid of intense chase thriller, splatter film, and absurdist horror comedy out of a shoestring budget. However, DASHCAM is a lot more uneven than Host despite the superior production values, but they do combine to form what might end up going down in the history books as pandemic horror’s premiere double-feature.

While it doesn't top the eccentricity of Wiseau’s cult favorite, Best F(r)iends is written by a man who understands, probably more than anybody, the appeal behind The Room’s creator, and directed by another man who understands not to mess with that connection and whatever ideas come spewing from it.

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

Zack Snyder’s Justice League is excessive and overlong to the point that trimming anywhere up to an hour would have elevated it significantly, but it’s still a triumph of circumstance, style and execution.

There’s too much that’s intriguing in this film to ignore it, and although the third act shows signs of strain, the first two acts more than justify the film’s existence.

Ang Lee’s depiction of life after war (or on leave) is a respectful one not without derivative roadbumps, but honest in appeal.

Almost Christmas doesn't set a new standard for family holiday comedies, but its cast and a handful of outrageously funny moments make it worthwhile for fans of the genre.

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.

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.

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.

Captain Marvel is a recorded mixtape of familiar MCU beats that sets Carol Danvers up for success, but as a period standalone, struggles to be anything we haven't yet seen from superhero cinema.

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

As the word “m#th&rf$ck*r” loses meaning, you can’t help but appreciate a wholly predictable – yet unapologetically confident – action goof that’s far funnier than it should be.

The Tomorrow War isn't as good as it could have been, but it's an entertaining enough sci-fi action blockbuster.

Last Looks doesn't bring anything new to the table, but it's a fun crime caper that makes us want to see Charlie Hunnam's Charlie Waldo again.

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

The magic here is in underground experiences and questionable decision making, all twisted like junky copper wiring that’s unraveled into something more useful.

About Ray is not, in the end, a triumph, but is still good and necessary viewing for its subject matter.

While it doesn’t do much to elevate the genre, Halloween does tick each and every box, which should be more than enough to appease your run of the mill fanboy, but scare off anyone with half a brain.

Halloween Kills is a huge comedown compared to its predecessor, offering plenty of blood, guts and gore to satisfy fans but little for everybody else in a by-the-numbers slasher sequel.

Overstuffed and disappointing, Live By Night wastes a strong supporting cast. It's not a total loss, but it doesn’t hold up against the rest of Affleck’s filmography.

Fist Fight suffocates a genuine script with easy, intro-level juvenility.

Gretel & Hansel is a full course meal when it comes to cinematography and production design, but the sleepy, hollow narrative pacing is just too stogy to overcome.

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.

Ostensibly a tragic tale of out-of-control youth, White Girl collapses under its lofty ambitions, boiling down to little more than a retread of other, better films.

Here Alone is a sometimes-striking, sometimes-repetitive glimpse into apocalyptic drama that struggles to offer anything new.

Murder On The Orient Express is an antique mystery that chugs along at 5-miles an hour without any turns that might jolt viewers in the slightest.

It’s either a compliment or a criticism to say that you need to be on the exact same wavelength as Big Gold Brick to get a kick out of it, because if you turn the dial even the tiniest little bit in either direction, all you’re going to end up with is static. If you’re on board, though, then there’s plenty to enjoy about an offbeat adventure that’s unlike anything else you’re likely to see this year.

Dark Night is rigorously framed and edited, but it offers the illusion of complexity rather than the real McCoy.

The Space Between Us is not without bright spots (celestial production design dazzles, Butterfield’s niceties are refreshing in today’s day and age), but it’s ultimately more a slog than serendipitous romance.

Taslim, Sanada, Lawson and the gloriously R-rated fights elevate Mortal Kombat significantly, no doubt, and you can slap on another star if you’re a longtime fan of the series, but newbies will be left largely unimpressed.

You’ll find laughs, zaniness and plenty of signature slow-motion jiggling, but it’s buried under a burdensome two-hour procedural.

The Blackcoat's Daughter aims for lofty satanic thrills, but gets lost in visuals that oversell a barbed but tangled nightmare.

Jeauffre's blending of terrestrial and extraterrestrial imagery is hypnotizing and spectacular, but this story of survival feels too bloodless to appeal to the average viewer.

The situation at the heart of Mine - what to do if you're stuck standing on a live landmine - is fascinating to imagine. But sadly, the film eventually devolves into cliched flashbacks and quickly loses momentum.

Bloodshot shoots to kill, but with the accuracy of a Stormtrooper - off the mark and leaving much to be desired.

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.

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.

Ma is a showcase for Octavia Spencer's ability to turn her typecasted traits into utterly disturbing obsession destabilization, but the film's less potent genre punch never lives up to its main character's psychotic allure.

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

The Grudge feels like "just another remake," which is a shame with such a previously style-forward director at the helm.