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.