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Admittedly, walking into the screening for Jumanji: Welcome to the Jungle, my hopes were high but my expectations were low. When the reboot of the classic 1990s adventure film had initially been announced, I scoffed. “A remake? Only 20-ish years after the original? Pshaw!” Nevermind that I didn’t recall anyone clamoring for more Jumanji back in 1995. But the reboot’s trailers gradually won me over, and – as someone who already loves The Rock – I was looking forward to seeing what new spin they’d put on the adventure classic... but I feared I was about to sit through two hours of unfun.

Much to my relief and delight, J:WttJ is a fun, energetic action-comedy buoyed by a talented cast, who fully embrace the fact that they’re in a movie about being stuck inside a video game, with a very obvious – and effective – nod to the John Hughes classic, The Breakfast Club.

If Tommy Wiseau were into mad scientists and gross-out humor instead of nonsensical tragedy, he easily could have made Attack of the Killer Donuts instead of The Room. The title makes no secret of the movie's campy nature, but it's amateurish execution puts it in a league of its own.

Let me get this out of the way first: the songs and music in The Greatest Showman are fantastic. Wonderful. Written by Benj Pasek and Justin Paul, the Oscar-winning team behind La La Land’s songs, they’re catchy, clever and memorable, and they elevate the story each time anyone opens their mouth to sing. As well, those songs will no doubt ensure the movie is eventually reborn as a stage musical, because the whole thing screams Broadway right from its opening frames.

Unfortunately, that killer soundtrack is let down by the actual movie itself, which pales in comparison and winds up being a clunker on a few levels – especially if you’re one of the women in the film.

Writer-director Guillermo del Toro’s latest fantastical drama is a bit like a hybrid of Amelie and The Creature from the Black Lagoon – it’s got more than its share of whimsy, gorgeous art direction and stunning cinematography, but is also punctuated by a handful of decidedly darker elements that make it clear this romantic fairy tale has some horror roots and is not for kids.

I don't know about you, but I'm tired of ironic horror (a la Kevin Williamson's resume of I Know I Saw You Screaming Last Summer teen flicks). For some reason, it has fallen upon the hot young directors of Spain to breathe a breath of fresh air into the horror movie genre. First we got the surprisingly creepy ghost story The Others from Alejandro Amenábar, and now comes Guillermo del Toro's The Devil's Backbone.

The Armenian genocide finally gets the Hollywood treatment with this earnest and ultimately unsatisfying romantic epic.

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