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1
The Electric State (2025)
5.9/10on IMDb
Released
128 minutes. The search for Michelle's brother should give this robot-filled road trip a clear pull. Instead, introductions, explanations and celebrity-voiced encounters keep competing with that relationship. The robots can be charming individually, but another stop does not always feel like a new emotional step. This is a case where the abundant visual activity makes the lack of forward pressure more noticeable.
2
Mercy (2026)
6.2/10on IMDb
Released
100 minutes. A detective has ninety minutes to argue his innocence before an artificial judge, so the film supplies its own stopwatch. The trouble is how often scrolling footage and explaining the system replace a developing exchange between people. The ticking clock does generate bursts of suspense; the barrage of screens can also make solving the case feel like waiting for somebody else's search results.
3
Borderlands (2024)
4.7/10on IMDb
Released
101 minutes. The mercenary crew changes locations and fires plenty of weapons, yet the rhythm of banter followed by disposable opposition soon becomes familiar. Without the game's freedom to explore, the next assignment needs stronger character friction to feel different from the last. Cate Blanchett's dry presence offers flashes of interest, but the short running time becomes a surprisingly poor measure of how repetitive the journey feels.
4
Argylle (2024)
5.6/10on IMDb
Released
139 minutes. Sam Rockwell gives the early collision between a novelist and a real spy an enjoyably scruffy energy. Then revelations repeatedly redraw the situation, requiring another explanation before the characters can act on it. A twist can accelerate a thriller; here, the accumulated resets make the destination seem to keep moving. The elaborate late action adds spectacle after the central joke has already done considerable work.
5
Eternals (2021)
6.2/10on IMDb
Released
157 minutes. Chloé Zhao's pauses for landscapes are often the relief, rather than the problem. The heavier burden is meeting a large group across centuries while absorbing another set of cosmic rules. Relationships keep giving way to orientation, so even the long running time struggles to make the people feel fully known. It is an instructive example of a film that can feel both overextended and underdeveloped.
6
Jurassic World Dominion (2022)
5.6/10on IMDb
Released
147 minutes in the theatrical cut. The returning characters bring affectionate recognition, but the film divides its attention between rescue missions, corporate intrigue and another succession of escapes. Each fresh creature ought to change the characters' options; too often it merely delays their next reunion. The locust story further dilutes the dinosaur premise, making a very busy film feel oddly reluctant to reach its main attraction.
7
The Snowman (2017)
5.2/10on IMDb
Released
119 minutes. Snowbound locations and a strong cast promise an absorbing detective story. What stretches the experience is the uncertain connection between investigations, personal troubles and supporting characters, leaving you to wait for scenes to acquire a clear purpose. Michael Fassbender's detective has abundant damage but little visible investigative momentum. The problem is fractured storytelling, rather than the idea that a bleak mystery must hurry.
8
Madame Web (2024)
4.1/10on IMDb
Released
116 minutes. Cassie's alarming glimpses of the future create a useful excuse to repeat and revise a scene. For this verdict, the mechanism becomes tiring when another explanation or near-miss postpones developing the group she is protecting. Dakota Johnson's exasperation supplies welcome comedy. Viewers who enjoy that deadpan rhythm may find it breezy; the running-time complaint depends on how quickly the repeated warnings wear out their welcome.
