Spider-Man: Far From Home is a convenient litmus test for the future of the Marvel Cinematic Universe post-Endgame. Using one of Spider-Man’s less-famous villains, Far From Home provides a fresh take for the franchise’s third reboot.

When done right, horror-comedies can be the best time you’ll have at the movies. "Ready or Not" proves that the proper balance of laughs and thrills makes for a tasty concoction.

"The Grudge" lacks every piece necessary for a successful remake, including the reasoning for making it in the first place.

Does 'Scary Stories to Tell in the Dark' capitalize on the disturbing imagery and quirky writing of the book series from which it's named, or does the attempt to build a cohesive plot around an anthology-friendly concept dilute the scares?

What Annabelle Comes Home tells us about the Marvel Cinematic Universe.

Reinventing a film from the Universal monsters of the 1930s, "The Invisible Man" modernizes the tale as a pertinent and compelling parallel of the traumas of domestic violence and stalking.

"Ad Astra" does space-oriented science fiction well, but remains in the shadow of films that did the premise better. "Ad Astra" is undone by predecessors of a similar ilk. "Interstellar" out-performs "Ad Astra" in visuals and exposition. "Ad Astra" is by no means a total loss, as it has its moments of brilliance, but it is difficult to lavish praise on a film that offers little expression of character or expansion on the ambient sci-fi concept.

'47 Meters Down: Uncaged' chooses to pull its inspiration from classic horror tropes rather than from the original film from which it was spawned. An unusual tactic. Did it lead to more success than its predecessor?

" Joker" boasts a powerful performance and noteworthy cinematography, but does it hit the thematic note it desperately seeks to strike? Read our review, and then feel free to weigh in!

In a vacuum, "Underwater" is a generic sci-fi/horror flick and nothing more, but it manages a B+ grade in every category, making it quietly worth the price of admission.

The throng of Disney live-action remakes has set a proverbial battlefront between nostalgia and innovation. While the CG pushes the boundaries of what the human eye considers "live-action," 'The Lion King' struggles to tangibly differentiate itself from its hand-drawn predecessor.

Is 'Child's Play' (2019) a fresh approach to the "horror film remake" or a ride on the coattails of a floundering franchise?

Director Guy Ritchie returns to form in "The Gentlemen," as it encompasses the off-color charm of his original works.

The Men in Black monitor and police alien activity on Earth, unbeknownst to the general population. When a new extraterrestrial threat arrives, it is up to the legendary Agent H (Chris Hemsworth) and rookie Agent M (Tessa Thompson) to stop it.

"Brahms: The Boy II" was as artificial as the porcelain crust on the antagonist's face, bringing a stale sequel to an overlooked original.

"Abominable" tackles the long-standing animated trope of coping with death. While it carries a similar weight to recent entries, it lacks the pristine execution and organic levity of its predecessors. Death is an inevitability of life that all must eventually face, though many of us experience it among our friends and family too soon on our journey. Animation studios have made this trauma a regular occurrence, in catalyzing a protagonist on their adventure or as a subplot that drives the emotional narrative of the tale.

Alexandre Aja’s ‘Crawl’ has a simple plot with no expansion to its tight-knit world. But does that necessarily make it bad? Simplistic cinematic structures can be a welcomed change of pace from complex, exposition-heavy films.