Carla Meyer

Wolf Man does not fully compel until it becomes ridiculous, employing a wolf-cam perspective that shows what a werewolf sees when he encounters people: glowing-eyed figures who look like AI-hallucinuted Teletubbies.

See No Evil directed by James Watkins (“The Woman in Black”), is not that interesting. Nor is it much of a horror movie or psychological thriller, despite carrying the Blumhouse imprimatur. For more than half of its nearly two-hour length, it plays more like the James McAvoy variety hour — which can be highly enjoyable if you do not mind one actor being the entire show.

Daniels has the talent to make a genuinely complex horror film. What was “Precious,” if not a horror movie made all the more chilling by its lack of supernatural elements? But for “The Deliverance,” Daniels simply dusts off the same crab-walking, veins-a-popping demon moves we have seen a million times.

Jackpot! involves a fight to the finish between the abundant charisma and likability of leads Awkwafina and John Cena and the impossible material they were given. The actors lose, because nobody could survive so many jokes based on groin kicks and bathroom humor or a movie premise as lacking in context as it is sky-high in concept.

McCarthy is one of our finest physical comedians. Every moment of physical comedy she performs here is cringey.

Margaret Cho goes over the top in the new Netflix comedy Good on Paper, mugging and delivering lines too emphatically. But as the movie progresses, you see the San Francisco native’s approach not as overacting, but heroism. She appears to be trying to single-handedly breathe life into this nearly laugh-free movie.

Melissa is the only fully developed character in an overlong, badly paced film filled with cliched dialogue and accented by pleasant yet forgettable music.

Diego also lacks any nuance as a character. He is grim and humorless, like most everything else about this film.

First Purge further lessens the drama by offering a hero and villains too mercenary to care about.

The game’s repetition quickly gets tiresome.

With The 15:17 to Paris, director Clint Eastwood overwhelms the extraordinary with the mundane, turning the true story of three Americans who helped subdue a gunman aboard a European train into a tedious film.

Wilson and Helms favor Bradshaw in likability. But they are not two hours’ worth of likable, in a film this flawed.

This brand of eccentricity does not suit Cusack. He lacks Cage’s manic gleam and irrepressible sense of play. Cusack comes off as glum and a bit lost, negating Miller’s effectiveness as bogeyman.

The freshest thing about Breakin' All the Rules is its dropped "g.''

A dreary, distasteful exercise, "Off the Leash'' favors dogs over humans, framing canine high jinks with an ugly story of domestic abuse.

Misbegotten mess.

probably less painful than actual childbirth, but it's still a very long 86 minutes.

This tale of tortured love between a Mormon missionary and a West Hollywood tomcat renders its gay and religious characters so stereotypical that neither lifestyle appears attractive.

It's strung together, with cliches instead of puka shells.

Were there an award for most bizarre and dispiriting comedy-horror hybrid featuring killer dolls, the latest installment in the "Child's Play" series would have it locked up.

A rather boring horror film.

The sequel might have the formula down, but it lacks everything that made "Anaconda'' fun.

Filled with overly processed situations it tries to sell with manic energy, "Kranks" is canned, hammy and rolling as fast as it can.

An awkward and aggressively unfunny film.

Lacks the clever twists and turns that made the original such fun. The sequel has exactly one twist, and it's not very clever.

Tries screwball and gross-out comedy and fails on both counts.

[Brody's] mannered performance helps downgrade this picture from a middling sci-fi film to a bad, borderline-camp sci-fi film.