Matt Donato

Despite Winslet's stunning cowgirl fashionista, The Dressmaker is a whole lot of weirdness packed into a story that stumbles around like an emotionally-inept drunk.

Like a flashlight that's running low on juice, you can feel the life oozing out of Nightlight with every faint flicker.

No lies; there are a handful of moments that strike a smile. That said, enjoyment is fleeting like the glee of biting into candy only to find, seconds later, that it's black licorice flavor.

Desierto is one of those movies that's nasty without reason, and never really finds its stride by way of tone or message.

Rodriguez’s transformation is hackneyed and ham-fisted, Hill’s action lacks excitement, unnecessary comic-book panel swipes add “character” – there’s nothing noteworthy about this hunt for retribution.

Storks is momentarily funny when it’s not boorishly and exhaustively begging for your attention.

Quicksand swings and misses as the next buzzy nature-born thriller. Beltrán can never decide if he’s making an upscale SYFY B-movie or an overserious examination of marriages so stale that self-destruction seems the only answer.

Detroit is, for lack of a better term, a pornographic echo chamber of resentment. Trying to put out a fire with ten more tankers full of gasoline.

Franck Khalfoun’s often-rethought Amityville: The Awakening is sleepover background noise at its best, traceable genre road-mapping at its worst.

Fantastic Beasts: The Crimes of Grindelwald is two-plus overstuffed hours worth of too many characters fighting for screen time that no enchantment can salvage.

Murnion and Milott’s Bushwick feels like a John Carpenter film without the societal skewering. A nasty, hate-filled movie with shaky detailing.

Valerian And The City Of A Thousand Planets is a fantasy adventure that’s nowhere near as adventurous or fantastical as it should be.

825 Forest Road is a stodgy paranormal thriller that doesn’t boast enough character or intensity to reach the heights of its director’s Hell House LLC movies.

If you’re laughing at all throughout Masterminds, it’s probably because of Jason Sudeikis.

Incarnate is just another buried Blumhouse special, and I assure you its neglect is with good reason.

Martyrs is the exact movie we feared it'd be - a forgettable remake of a far more prolific foreign success story.

Excitement is fleeting, dialogue rambles and Jude Law’s tyrant-approved throne slouch pretty much sums the film’s overall attitude – a hearty “meh,” worthy of no diamond-studded crown.

Collateral Beauty is a Hallmark tear-jerker in the worst way, so out of tune with human emotion that it almost becomes satire.

The Garfield Movie is silly to a fault, feels seventeen hours long, and lacks any pulse of life.

Varley's talents as a director are evident for the first half at least, but after that, The Astronaut becomes a head-scratcher.

Pierre Morel's uninspired work behind the camera goes hand in hand with the film’s nondescript title, dragging viewers through a moodless, toothless action hybrid that, at its best, plays as forgettably inept even with ammunition flying in all directions.

Wish Upon is a Final Destination redux that pulls too many punches.

The Frontier is a stale film from another era, with an unfortunate story that's about as frail as a tumbleweed.

Rupture is the kind of ill-conceived film that gives Michael Chiklis the campy role while keeping Peter Stormare on background duty.

Duchess is a flat and forgettable riff on Guy Ritchie classics that doesn't have an ounce of the wit, charm, or glorious mayhem.

The Long Night’s understanding of horror genre fulfillment is nonexistent, no more satisfying than rice cakes with a little red food coloring splashed on to mimic spooky decorations.

Never does Soderbergh’s projection strike me as B-movieness or popcorn entertainment. His mix of arthouse iPhone Hollywood and downplayed character accentuation (by way of misrepresented screen shrinkage) makes for a thriller that fails to spike excitement via a villain who’s always right where he has to be.

Abattoir feels like it should still have an "Under Construction" sign warning viewers of the unfinished business to come.