Clarisse Loughrey

Adaptation or not, it’s an astonishingly hollow work.

Any effort to force us to identify with Chris comes to naught. Any promising idea leads to a dead end. It’s a maddening watch.

The music’s great, but this Jared Leto vehicle is otherwise an ethically dubious, horribly written nadir in franchise slop.

The characters are presented in the of-the-moment style of CGI rendered to look like hand-drawn animation, but with a scarcity of detail and a flatness usually associated with preschool television.

With nothing to revamp, Lilo & Stitch instead creates brand new problems for itself.

What’s most disheartening about it all is how predictable Disney’s choices have become. With Snow White, they’ve finessed their formula – do the bare minimum to make a film, then simply slap a bunch of cutesy CGI animals all over it and hope no one notices.

The Electric State is somehow both punishingly obvious and completely incoherent.

It’s bold in theory, a struggle to sit through in practice.

Richard Wenk, Art Marcum, and Matt Holloway’s script is profoundly scattered, and there’s such a ruthless amount of re-recorded dialogue inserted that there’s little cohesion between or even within scenes.

Wildly miscast actors and an impenetrable script make this long-delayed actioner alienating to fans of the game and incomprehensible to the casual viewer.

The Garfield Movie is stuffed with enough tragic backstories to make a therapist rich.

Madame Web is fiction and has seemingly passed on the opportunity to make itself exciting – instead offering a two-hour prelude to a 30-second trailer for a sequel that will never happen.

It’s a film populated by some of the Justice League Snyder Cut filmmaker’s worst impulses: a mess of imagery, some of it attempting to shock, congregated largely around the idea of what might look good in a trailer.

By the end, Cat Person has killed any hope of a real conversation about modern love.

There is no chemistry, sexual or otherwise.

When it comes to “The Friends”, there’s some great comic timing – Iannucci, Tevlin, and Metcalfe are particular stand-outs – but it’s hard to shake how frequently these jokes are written at their expense.

The Son is an ugly, blaring question mark of a film, and inexplicably terrible considering the talent involved.

Why is Dwayne Johnson delivering every line here in an exhausting monotone?

Above all, at no point during Carrie Cracknell’s directorial debut do you ever get the sense that anyone’s actually read Persuasion.

No, the problem with Home Sweet Home Alone isn’t that it had the temerity to encroach on a holiday classic. It’s that they bungled the whole thing so badly.