Matt Fowler

Confess, Fletch is a clever soft-baked cookie of a mystery, never getting too intense or presenting massive stakes, which is the perfect sandbox for a wise-cracking investigator like Fletch to play around in as he relies on a mix of charm, smarts, and luck to make it through to the other side.

Me Time has bursts of energy and vibrancy, mostly involving its two leads and their snappy chemistry, but it's also a hodgepodge of predictable buddy comedy beats that doesn't do much to separate itself from what's come before.

I Came By elevates a pulpy serial killer premise with fun casting and surprising story beats.

Paws of Fury: The Legend of Hank curiously exists as a Mel Brooks movie remake, though that's also its most redeeming feature.

Don't Make Me Go features excellent performances from John Cho and Mia Isaac, but it stumbles big at the finish line.

Hustle may be a conventional sports drama, but it still offers Adam Sandler another dramatic role to shine in.

Chip ‘n Dale: Rescue Rangers isn't the first movie to do what it's doing -- with live-action and animation sharing the screen, helping nurture a meta-comedy adventure -- but it's damn fun and one of the cleverest uses of elder pop culture properties in a while.

Despite solid performances from Zac Efron and Ryan Kiera Armstrong, Firestarter feels stifled in story and presentation.

The Cellar has a cool and creepy set up but then fizzles once the answers start arriving.

Metal Lords is earnest with metal but sloppy with character and story. It delivers a rousing finale but the journey there is uninspired and half-formed.

Cole Sprouse and Lana Condor are a fun duo, capable of feeling human and endearing in the midst of cosmic turmoil. The movie's not a full home run, but it's surprisingly silly and shrewd.

Zach Braff and Gabrielle Union are great pillars here, though the film itself isn't consistent enough with its tone, snapping back and forth between sweet sentiment and cheap gags.

Black Crab has all the ingredients to grab you and take you on a thrill ride -- and at times it achieves this -- but it suffers partial collapse by the end because of its need to land a little loftier than necessary.

Bruised is a good outing for Halle Berry as a director, though a better reminder of her as a star. Aside from that, however, the story progression is light on impact.

Zeros and Ones uses the spy genre as a thin mask for a fever dream that evokes nightmarish uncertainty.

Black Friday proves to be a winning combination of gloppy scares, well-crafted characters, and wise commentary.

Despite the inherent ugliness of watching a rich kid diabolically dig into a mom and dad who are just trying to save their home for the sake of their own children, Home Sweet Home Alone has some decent wit and heart to it. Archie Yates is good as the new precocious protector of his lair, but it's Rob Delaney and Ellie Kemper who anchor the film and give it something resembling a soul.

Kate Siegel does her best to elevate a simplistic thriller that follows all the same beats you're accustomed to.

Night Teeth's winning lead trio and its glossy, electronic buzz save this Collateral clone from sinking into full nonsense. The film's usually interesting, though it never truly strikes with malice or meaning the way it wants to

Escape the Undertaker is a benign but effective use of Netflix's interactive abilities. Pairing the most macabre WWE Superstar with the company's most positive players makes for a fun showdown, one that you might wish had made it to official WWE TV -- not in this form, of course, but as a noble "turn to the dark side" storyline.

There's Someone Inside Your House tries to make you think it's got a catchy, viable gimmick when in reality it's empty and unsatisfying.

It's a bizarre and overly rambunctious ride that forsakes cleverness for Billboard acts and dizzying set pieces.

The Starling contains themes of grief and guilt that are worth exploration, but finds itself unable to delve deep into these elements, instead relying on bad bird effects and a needlessly quirky and eccentric tone to gloss over most of the uncomfortable elements.

Copshop is meaningfully and enjoyably derivative as a patchwork homage to '70s shoot-em-up cinema (even Spaghetti Westerns), but it never quite reaches its potential.

Cry Macho has spare moments of charm and tranquility, but mostly it's a dry and unfinished story that fails to hit even the most basic of Story 101 beats.

Krysten Ritter, along with Winslow Fegley and Lidya Jewett, provide enough pizazz to keep Nightbooks afloat, creating an engaging supernatural hostage scenario.

Addison Rae and Tanner Buchanan are magnetic leads in this reboot that pays homage to the first film, but fully stands on its own. It manages to cut through modern high school b.s. while transforming two posers into presentable, likable people.

Vacation Friends may be a touch predictable, but John Cena and Meredith Hagner will make you wish you had friends like them on your next trip.