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.