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.