2.5 star movies
While it offers some laughs and has the makings of a decent rom-com, Long Shot gets bogged down in its scattershot attempts at political satire.
Despite a lack of originality and substance, The Curse of La Llorona makes for an entertaining funhouse ride of a movie set in The Conjuring universe.
Master Z delivers its fair share of pulpy entertainment and stylish martial arts fights without bringing anything particularly fresh to the genre.
As contemplative and unsettling as it is, High Life struggles to develop its bleak sci-fi vision into an engaging and cohesive piece of cinema.
Brie Larson's feature directorial debut, Unicorn Store, has more style than substance, but a charming lead performance and important message buoy it.
The Highwaymen is a respectable tribute to the men who brought notorious criminals to justice, though it's not always the most engaging watch.
Five Feet Apart is a well-acted YA romance and provides some welcome representation, but eventually finds itself bogged down in shlocky melodrama.
Wonder Park has a wonderfully touching message about sadness and fear set in a wildly imaginative world, with a still rather unremarkable story.
Greta is far more silly than sinister, but is partially saved by Isabelle Huppert's gloriously theatrical performance as the film's titular character.
Cold Pursuit makes for an entertaining subversion of Neeson's previous action roles, but the story gets dragged down in its larger ambitions.
The Prodigy is an often chilling and disturbing - if not particularly meaningful or impactful - horror movie weighed down its by derivative plot.
What Men Want is a solid comedy, in which Taraji P. Henson shines as the star, that also manages to somewhat compellingly explore bias against women.
While it has a game cast and offers some fun twists on typical horror-thriller scenarios, Velvet Buzzsaw makes for a relatively hollow satire.
Piercing is a stylish exercise in retro horror-thriller filmmaking, but its stabs (no pun intended) at something deeper are mostly ineffective.
Glass concludes Shyamalan's superhero movie trilogy in a manner that manages to be absorbing, frustrating, and bewildering at the same time.
Escape Room is an entertainingly cheesy and surprisingly innovative B-movie, but suffers when it turns its attention to setting up future sequels.
Mortal Engines has some terrific world design and visuals, but its uninspired narrative and ungainly filmmaking make for a hollow viewing experience.
Once Upon A Deadpool proves the foul-mouthed anti-hero can work in the confines of PG-13, but it only kind of works as a re-cut version of Deadpool 2.
Prodigy plays with some big ideas and heady themes, but doesn't fully develop all of them as it struggles to truly connect with audiences.