Caught Stealing is decidedly mediocre both as an entry into Darren Aronofsky's filmography and the crime thriller genre as a whole.
Kaitlyn Booth Archives
Eenie Meanie isn't trying to overhaul the heist or car genres into something new, but it shows up with all of the things we expect from the genre, only polished to a shine.
There are select scenes of Honey Don't! within all of those small plots that are great, but too much is going on, and by the time the credits roll, things have been revealed, but none of it is narratively satisfying.
Highest 2 Lowest might not entirely come together, but Lee is an interesting enough director and writer that it's not boring even when it doesn't work.
Nobody 2 is a perfect example of how far good directing, stunt choreography, editing, and action can take you with a bare bones plot.
Freakier Friday is yet another legacy sequel that feels like it was made to print money instead of the desire to tell a new story.
The Bad Guys 2 isn't quite as good as the first film, but that's mostly because it's very similar to the first one and doesn't do a ton to elevate its own material.
The Naked Gun is presenting itself for exactly what it is, so if you're watching one of those trailers and you laugh at one of the jokes, you'll probably like the movie.
The Fantastic Four: First Steps is in such a hurry to set everything up that it forgets that the reason these stories have endured is the characters.
Smurfs is a prime example of what happens when committees, instead of people, make films.
Superman is one of the big pieces of the new foundation for this version of the DC Universe, and while it's not a perfect film, it's sturdy enough.
Jurassic World Rebirth is ultimately one of the better entries in the modern Jurassic World series of films, but that bar is so low we could stub our toes on it, so it's not saying much.
28 Years Later has some weird structure and pacing choices, but the worldbuilding, story, and moral and ethical questions it asks its audience really counteract those problems.
F1: The Movie is a technical marvel, but the decision to lean into the all too familiar tropes of the genre is going to be hit or miss with people, depending on what they are expecting.
How to Train Your Dragon will probably be the new case study for doing a live-action remake correctly.
Ballerina can't quite match the impossible standards of the films it shares a cinematic universe with and has a rocky first act, but once things get going, it really finds its footing.
Several creative decisions made early on make a lot of elements of Lilo & Stitch unsteady, and by the time the third act rolls around, it collapses the same way Lilo's house does.
Mission: Impossible - The Final Reckoning is the worst kind of ending to a franchise in that it isn't an ending at all, but still tries to position itself as one.
Another Simple Favor wants to be just as captivating as the first film, but it feels like the younger sister who is desperately trying to emulate the effortless grace of her older sister.
Thunderbolts* starts off weak and is only held together by the sheer talent of its cast, but the third act is where the movie truly shines.
Drop isn't a perfect film, but it's an interesting concept executed well, and its flaws aren't dealbreakers.
The Amateur completely fails to come together, and any parts that do fit only elevate the film to barely passing.
Snow White is one of the better Disney live-action remakes, but that bar is getting so low you could stub your toe on it.
Every piece of Black Bag, from the cast to the set production design to the music, fits together like a perfect little puzzle.
Novocaine doesn't reinvent a single wheel, but it's very honest about what it is, which means you know whether or not you'll be into it.
The Gorge is a strange film that somehow gets worse when the inciting incident happens, and the rest of the plot unfolds.
Captain America: Brave New World is a frustrating film to watch, even if it isn't entirely inept, with so many good ideas that are executed poorly.
Babygirl doesn't entirely work, but it's so refreshing to see female sexuality explored through a woman's lens that you can overlook the flaws.
Nosferatu is one of those movies where you can simply say it is a masterpiece and walk away without needing to elaborate further.
A Complete Unknown is far from the worst thing you'll see this Christmas season, and many people will probably like it simply because of the various performances.