Hoai-Tran Bui

The problem is that Eurovision Song Contest can’t dream of capturing the real-life weirdness of Eurovision. And while there’s some chuckles that can be drawn out of McAdams and Ferrell lip syncing a surprisingly catchy song while running through a hamster wheel, there’s only so much fun that can be made of a televised singing contest where weirder things have happened.

Sing 2 feels like a relic from another era. And oddly, a relic that really wants to sell you on U2 songs.

It wastes the potential silver screen magic you could have by casting Hawke and McGregor as once-close brothers who are forced together by a death that they both have difficulty grieving.

The Gray Man exists "in the gray" of Hollywood action movies — not jaw-droppingly incredibly, not astoundingly bad, just there. It's a movie that's made to be half-watched on Netflix while scrolling on your phone. Its greatest disappointment is that it knows what it has — Gosling, a great cast, a lot of money — and it still ends up being less than the sum of its parts.

All in all, The Protégé is a dull assassin movie misfire that does no justice by Maggie Q and can’t be saved even by Keaton and Jackson making a meal of their scenes.

The premise of Luck — what if good and bad luck were engineered? — is too thin to make either element feel fulfilling. Instead, the film's most imaginative qualities feel flattened, while its attempts to lend a fresh, modern edge to these old-age concepts feel unsharpened and bland.

Most attempts to adapt the works of Jack London to the big screen have, more often than not, resulted in a neutered final product. Chris Sanders‘ live-action/computer-animated adaptation of The Call of the Wild falls firmly in this category.

Don't Worry Darling wants to be a transhumanist "Truman Show," but ends up playing out more like a mostly okay episode of "Black Mirror." In fact, Don't Worry Darling recycles a bunch of ideas and imagery from other films, which it attempts to imbue with a fresh, new sociopolitical angle. But it can't overcome its rather simplistic story and a disappointing reveal that ultimately doesn't match up to its build-up.

Earwig and the Witch feels like a film going through the motions, but not understanding the emotion behind the big narrative beats it’s trying to pull off. It’s a film matched by its flat animation style: incomplete and uninspired.

The sentimentality threatens to veer into melodrama at points, which Pratt struggles to handle. But The Tomorrow War has got a trashy popcorn vibe to it that it wholeheartedly embraces, and a cornball machismo that you can’t help but get taken in by, even if just for a second.

Uncharted has fun moments . . . but its overreliance on unfunny quips and uninspired retreads of the action-adventure genre makes it another disappointing non-MCU outing for Holland, and another spiritless adaptation of a beloved video game.

As charismatic as its stars are, and as refreshing as its period setting is, the wildly inconsistent tone and overstuffed runtime loses whatever was left of the shine of the first "Kingsman."

The problem with "Persuasion" is it doesn't know what it wants to be. Is it a bold, revisionist take on Austen with progressive colorblind casting and cutesy contemporary slang? Or is it a sentimental period romance that wants to get its audience's hearts fluttering as they sigh over the pining glances shared between Johnson's Anne and Cosmo Jarvis' (an endearingly awkward bright spot in the film) Wentworth? The result is a half-assed attempt at both, which only makes it all the more insulting.

Every joke in Easter Sunday lands with a thud, every emotional beat falls flat. It has the sense of humor of a bad TikTok video, and the emotional resonance of that TikTok commercial playing right now where wide-eyed people declare, "I learned it from TikTok!" Visually, it looks like a network TV reject or that one Netflix movie that you put on in the background while doing laundry.

Other than a few inventive sequences around the film’s central conceit of “the Noise,” Chaos Walking is a grim retread of the YA dystopian story that offers nothing else but a misguided attempt to elevate the genre through a darker, more “adult” tone. It ends up being little more than a joyless exercise with bad wigs.

The problem with Like a Boss is that it spends so much time being a pale imitation of other female-led comedies that it overlooks what makes the film work: Haddish and Byrne. If you just let them riff, let them live together and let the cameras roll, you would get an infinitely better movie than the middling workplace comedy that Like a Boss turns out to be.

Its premise is ridiculous, its entire appeal based on the novelty of having a bunch of Lycra-clad strangers thrust their hips at you in the dark. Hooper creates something just as bizarre with his Cats, though not as successfully electrifying. Its flashes of brilliance feel like happy accidents and its uncanny technical choices are never overcome.

Artemis Fowl is not just a disappointing adaptation, it’s a badly made movie. Its Frankensteined plot and its shockingly poor CGI — which could have passed in an early 2000s movie, but not in 2020 — leave it no redeeming qualities. It gives me no joy to say that yet another movie adaptation of a beloved childhood property has wasted Colin Farrell.

Everything about Dolittle seems hastily put together — from the whiplash-inducing tonal shifts, to the potty humor, to the poor use of a star-studded cast.