2.5 star movies
Holiday Hell is a fun, if fleeting, deviation from the traditional Christmas movie with suitably hammy performances and thrills.
Naomi Harris helps elevate Black and Blue beyond its genre trappings with a strong performance, but Black and Blue is a largely generic thriller.
The Laundromat is a scattered, disappointing effort by Soderbergh that fails to make the most its source material and talented ensemble.
Maleficent: Mistress of Evil expands the world of Disney's retelling with high fantasy action, but suffers from a weak plot and thin characters.
Thanks to some strong work by Smith and its better set pieces, Gemini Man partly succeeds at overcoming its bland plot and occasionally iffy visuals.
Joaquin Phoenix goes full Clown Prince of Crime in Phillips' stylish crime drama, but it's not enough to mask the sense of emptiness at Joker's core.
In the Tall Grass has suitably creepy moments peppered throughout, but its overall narrative lacks cohesion and can be confusing at times.
Ambitious and undeniably gorgeous to look at, The Goldfinch is a sprawling mess that never finds the rhythm it needs to really come alive as a film.
Satanic Panic is a gory, schlocky and ultimately entertaining horror movie, though its message about generational divides gets lost in the mess.
Falling Inn Love is a cute, but easily forgettable romantic comedy that's bound to get lost in the shuffle of Netflix's ever-expanding library.
Angel Has Fallen struggles to bring greater depth to the otherwise (mostly) enjoyably cheesy throwback elements the franchise is known for.
Even with a terrific performance by Cate Blanchett to propel it through its rough patches, Where'd You Go, Bernadette never truly finds its footing.
The Kitchen is a decently enjoyable mob movie, with stellar lead performances, but a lackluster script from first-time director Andrea Berloff.
Good intentions and Hodge's eloquent, stirring performance help to compensate for Brian Banks' shortcomings as a thinly-sketched inspirational biopic.
The Art of Racing in the Rain's main conceit wields mixed returns, resulting in a family dramedy that's whimsical and manipulative in equal measure.
Hobbs & Shaw is partially successful in evolving the Fast & Furious property, yet mostly comes off feeling like a branding exercise for The Rock.
Yesterday is a fluffy and ultimately half-baked 'What if?' fantasy that partially gets by on its zestful storytelling and endearing performances.