Lena Wilson

[A] soulless film.

The premise is disingenuous at best and, in a moment where scores of citizens are calling for widespread police reform, fearmongering at worst. Like Jigsaw offering one of his facile riddles, this film is not as clever as it thinks it is.

Though the film attempts to introduce a future laden with fascinating social implications, it maddeningly ignores them in favor of an overwrought, plodding, and inherently sexist romance.

Please Don’t Feed the Children has a few things going for it – namely capable lead performers Michelle Dockery and Zoe Colletti – but Destry Allyn Spielberg’s boring, predictable first feature definitely doesn’t feel like it comes from a descendant of filmmaking royalty.

Where it could lean into the typically bone-dry Addams family humor, this film more often relies on poop jokes, explosions and the musical talents of Snoop Dogg. It’s sure to entertain little ones, but parents may find themselves itching for something more impish.

It’s difficult to imagine anyone watching Life Upside Down out of anything other than abject desperation.

Neither romantic nor comedic, When We First Met is almost too vapid to be aggravating. After watching it, you might be tempted to hunt down a time-traveling photo booth of your own so that you can undo your mistake. Luckily, this movie is so shallow you probably won’t even remember it after you wake up tomorrow

The problem is not that Cats makes no sense . . . nor that the performances are mediocre (most of them are quite good). The murder weapon is the galling CGI intended to cover the actors in head-to-toe feline fur. Instead, the animation detracts from the film’s capable performers and inventive surroundings, drawing the eye reluctantly in like the sight of a person vomiting in the middle of an amusement park. It makes for a slow death, so overwhelmingly grotesque that it ceases to be interesting at all.

The twists in Hypnotic may not be brilliant, but they are abundant, making for the sort of straight-to-streaming treat best enjoyed on a couch, with company who will laugh with you and let you yell at the screen.

Those poor viewers willing to take on this Freudian tale and its dialogue rivaling “The Room” must brave a ludicrous slog for crumbs.

It’s beautiful, if not brilliant, and (aside from a final act that drags on way too long) fun to watch. In the alternate universe where I don’t care about misogyny and I decided to watch this movie on mute, it’s probably one of the best things I’ve seen all year.

While Our House occasionally loses sight of itself and could stand to take more risks, it offers a wholly original perspective on female friendship bolstered by precocious directorial acumen and a self-assured visuals.

Given the cast’s three outstanding performances and slick camerawork by Nicolás Colledani, this makes for a fascinating capsule of family brutality.

There is little here that was not already tackled in Rob Stewart’s 2007 documentary “Sharkwater,” nor in the more recent, less artful “Seaspiracy.” Though where Stewart painstakingly explained the beauty, intelligence and importance of sharks, Roth would rather that we love these animals simply because he does.

This well-choreographed hunt is chilling, sure — particularly because of de Wolf’s terrifying performance and unconventional choice of weapon — but it’s also a little bit fun.

The Trip is occasionally fun, but other films have handled gleeful gore and psychological torture with a far more skillful touch.

Though there are a few standout creations, the anthology is mostly muddled, privileging a heightened version of 2020 over a reality that was plenty scary on its own.

This mawkish plot might be tolerable if its characters were more likable; instead, they are pretension personified.

Forget about hell, the emptiness these filmmakers must address lies primarily in their predominantly female cast of characters.

To set expectations, it’s best to think of My Fake Boyfriend as two movies. There’s the gay rom-com, focused on Andrew, that Pride month viewers have presumably tuned in for, and then there’s an almost “Black Mirror”-ish comedy, centered on Jake, about a meddling techie who gets caught up in his best friend’s life.

This is not your mother’s Disney Channel, and thank god. All of the “Zombies” movies are brimming with camp delights, as though the crew watched “But I’m a Cheerleader” while dropping acid. This is particularly true for Zombies 3.