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.

Ben Affleck anchors this surprisingly complex drama with a career best performance, which sees director George Clooney turn his attention to the importance of friendships in life.

Dog Eat Dog is all bark and no bite, playing around in a sandbox of vulgarity with little rhyme or reason.

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.

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.

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

Gabriela Cowperthwaite orchestrates Nick Shafir's fantastic script and deftly on-the-ball players to uniquely jolting effect, even if the finish line was ultimately more glimpsed than crossed.

There’s also an earnestness and unashamedly goofy quality to the whole thing that might even win over some of the actor’s longtime naysayers.

A powerhouse screenwriting debut, inspired direction, and a Scarlett Johansson-shaped heartbeat ensures that all systems are go for 'Fly Me to the Moon.'

Billed as a lockdown love story, Alone Together is more than the sum of those parts. Offering writer director Katie Holmes a perfect platform to deliver, something intimately personal with political undertones. Substance and subtlety with this subject matter is rare, so give this some attention.

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.

With a little less preamble and a lot more momentum, The Cow might have been something special.

Despite its occasional smart commentary, the film offers a limited, one-note response to modern day racism.

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.

In a wonderful turn of events, M. Night Shyamalan has finally made a movie worthy of M. Night Shyamalan's prestige.

47 Meters Down navigates choppy waters, but ultimately manages to deliver some prime summer-time screams.

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.

To make a movie about such an elusive figure is a challenging undertaking, and it’s a testament to the quality of Magnus that the film succeeds as well as it does.

Ghost In The Shell is exactly the high-fi cyber shooter you feared it’d be, drenched in digital paranoia and concerns of network privacy. Visual fancies overload the senses early and often, only to hope the kaleidoscope artistry lingers long enough to overcompensate for back-end dullness.

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.

Fantastic Beasts: The Crimes of Grindelwald is two-plus overstuffed hours worth of too many characters fighting for screen time that no enchantment can salvage.

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

Ultimately, The Colony squanders a great concept and never takes it to fruition.

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

Jurassic World: Fallen Kingdom is boggled insanity of the highest and most enthralling sci-fi order. As exciting and wondrous a summer blockbuster audiences could ask for. You must suspend reality (EVEN FURTHER) and enter a world where dinosaurs have existed for years in order to attain circumstantial nirvana, but if done correctly, an absolute wealth of ceremonious riches await

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

Valerian And The City Of A Thousand Planets is a fantasy adventure that’s nowhere near as adventurous or fantastical as it should be.

Desierto is one of those movies that's nasty without reason, and never really finds its stride by way of tone or message.

Anchored by a music industry veteran in the form of Machine Gun Kelly, Taurus is defined by rock star cliche, yet transcends those narrow perimeters to deliver a poignant piece of drama refreshingly free of pretension.

Coupled with an uninvited human story at its forefront, Burton’s chilling style makes Dumbo nearly unrecognizable.

Rough Night is a seriously funny movie led by some seriously funny ladies, but even more impressive is a mainstream comedy that relies not on cheap shocks like many who have come before.

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.

The Accountant is so many baffling things, most (but not all) of which can not be described in a positive manner.

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.

As movie star Sophie Wilder, Monica Barbaro is effortlessly charming, while Diego Boneta imbues assistant hotel manager Alejandro with equal amounts of charisma. 10 times better than audiences will expect, At Midnight is worth a watch.

Malignant is messy, chaotic, ridiculous and quite possibly the most insane movie you'll see this year, but James Wan doesn't just know that; he uses it to his advantage.

Day Shift just about gets by on its impressive action sequences, but everything else about the vampire horror comedy feels more than a little lacking.

Lou is a polished piece of action drama from Netflix and Bad Robot, which gets by on solid performances from Allison Janney and Jurnee Smollett. Combining with a unique score from Nima Fakhrara, this by-the-numbers Netflix release is worth a watch for Janney alone.

Keeping in mind that the mantra of Clerks III is to live your life with the knowledge that it is precious, don’t waste it watching Clerks III.

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

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 Marvels feels like it should have been developed as a Disney+ project, but Larson, Parris, and Villani's full commitment promise a nonstop, frenetic team-up movie—and who could forget Goose!

Florence Pugh gives another magnetic performance in this hard hitting redemption drama, written and directed by Zach Braff. Aided and abetted by Morgan Freeman, an otherwise average melodrama is elevated by two movie stars on top form.

The Hunt puts the "F-U" in midnight "fun" as no sides are safe in this middle-finger cultural roast that's as loudly defiant as it is proudly blood-soaked.

War On Everyone is a pitch-black, nihilistic riot, like a pissed-off teenager spinning atop a mountain with two outstretched middle fingers pointing in every direction.

This time around, Denzel’s “Equalizer” is less of a Robin Hood-like hero for the helpless, and more of a Travis Bickle-like vigilante, shooting his way through a murder caper that has neither the incentive nor the heart of its already forgettable precursor.

Eurovision Song Contest: The Story Of Fire Saga is bursting with wit, warmth and laughs, and is well worth a watch on Netflix.

Going in Style doesn't bring much imagination or innovation to the world of crime comedies, but its legendary stars enhance the experience enough to make it passable entertainment.

Despite its shortcomings, 'Meet Cute' takes viewers on a journey through the harsh reality of relationships that they won't soon forget.

Dwayne Johnson and Emily Blunt elevate Jungle Cruise, but you've seen this movie before, and you've seen it done a lot better.

The Boss Baby is a movie made for few audiences, inconceivably inept in its ability to blend adult references with children's immaturity.

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.

3 From Hell is an ugly example of too much wicked style over zero intended substance.

iBoy is a fully charged superhero tale that soon overcomes its admittedly ludicrous premise.

Ultimately, Blonde falls short of the noble goals it sets out for itself. What we get instead is a stunning, surreal nightmare that fails to let Marilyn Monroe be a complicated, full person. Even if it’s packaged well, what you’ll find at the heart of Blonde is something acrid and hollow.

Black Christmas deserves to be a better slasher satire propelled by empowerment than the messy, tonally obstructed holiday dud we're gifted.

Funny, touching and insightful. Woody Harrelson is in top comedic form in this tonally unique comedy with a lot on its mind.

In essence, Bloody Birthday is the old horror film, The Bad Seed, multiplied by three on the crazy scale, but far less chilling.

This culture clash comedy is a car crash only John Cena survives.

Darkly comic, delicately tragic, and shot through with genuine pathos - 'Raymond and Ray' is a real treat.

The Gray Man delivers on its promise of spectacular globetrotting action escapism, but there's a noticeable spark missing that could have elevated it above formula and into greatness.

[The film] is really little more than a collage of gag-worthy and violent attempts at comedy.

Bohemian Rhapsody may not totally rock you, but Rami Malek channels the thrilling, show-stopping charisma of the late Queen super singer, ensuring this inappropriately timid biopic is as entertaining as it can possibly be.

When Bullet Train sings it’s often a blackly hilarious and knowingly absurd slice of demented action goodness. When it doesn’t work, self-indulgence begins to creep in, almost as if the creative team deliberately set out to make something that would be fondly remembered as a cult favorite in the years to come, but that’s a sentiment that can only be earned, not cultivated.

If you stick with it, The Cellar performs a kind of alchemy on screen: turning from a staid haunted house movie into a haunted house movie with a real sense of ambition and fun. I just wish it had more interest in its female leads.

Though not a terrible film, Insidious: The Last Key fails to live up to the franchise's high standards.

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.

Stagnant, contrived, and oh so boring, The Promise is nothing but a perfectly good waste of Christian Bale and Oscar Isaac’s towering abilities.

The Loner is a hyper-surreal tale of neo-noir revenge, boasting Middle-Eastern influences that unlock new aspects of an age-old genre.

Despicable Me 3 hits a supervillain high with Balthazar Bratt, but also a franchise low as far as Gru and Dru's brotherly reunion is concerned.

Resident Evil: The Final Chapter proves that there's nothing left in the tank of this grossly nondescript zombie-shootin' franchise.

Gold might be a flawed find, but it's worth seeing for Matthew McConaughey's performance alone.

Army of Thieves isn't the most original or inventive heist movie you'll ever see; but it's a massively entertaining expansion of Zack Snyder's undead cinematic universe.

Unless you are resolutely, shamelessly committed to the exact same palate and moodboard as Costner himself, this first entry in the 'Horizon: An American Saga' series is a death sentence.

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.

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

The Predator guts and slashes its way to gory sci-fi mediocrity, but is further failed by abysmal pacing that loses characters, subplots and interest along the way.

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.

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

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.

Daniel Radcliffe does what he can to elevate the survival story at the heart of Jungle, but the film's awkward pacing and over-reliance on cliche hold him back.

Yes it's "Alien but underwater," and that's a good thing given how a top-notch Kristen Stewart leads us on a terrifying dive into the deepest reaches of aquatic horror.

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.

There’s just enough cleverness in Escape Room to enjoy that this bad-horror-movie experience becomes more discouraging than droll.

Tomb Raider, by merely being an OK video-game film, is a great step in the right direction for the struggling genre. It seems that Uthaug got most of the dreary, expositional stuff out of the way early, so hopefully these oncoming sequels will take a hint and give audiences more of what they want.

Your enjoyment of Child's Play will depend on if "Chucky 2.0" is funny enough for your horror comedy tastes, because without investment in Kaslan's "Buddi," there's not much to appreciate beyond a few gnarly slasher deaths.

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.

Powerful, provocative, and libel to promote debate - 'Cat Person' is a film with plenty to say. Directed by Susanna Fogel and adapted from the short story by Kristen Roupenian, this features Emilia Jones and Nicholas Braun in a hard hitting tale.

It might be a tad light when matched against the wittiest mysteries, but for all intents and purposes, The Girl On The Train is a tightly-wound Hitchcockian ride wrought with tension. Elements of voyeurism, self-loathing and murderous intent mix together in a volatile cocktail stirred gently by director Tate Taylor, who doesn’t dilute a single ingredient.

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.

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.

There's a lot to like about Olivia Wilde's sundrenched sophomore directorial effort, particularly Florence Pugh's performance, but the story feels uneven.

Pet is scariest when exploiting our social fears of being rejected, and at its worst when playing some psychological switcheroo in a Saw-like basement.

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.

King Cobra has the intensity, excitement and poison every thriller needs, and wild, engaging performances to boot.

Godzilla: King Of The Monsters lays many a colossal Kaiju smackdown, but human arcs crumble under the heavy weights of those 'Zilla-sized behemoths they're forced to shoulder.

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.

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