Nick Allen

Leo can sometimes have a jolt of energy from its slapstick sequences or its bright color palette, in which Leo the lizard flies through the air, floats on a bubble, or meets other talking animals. But it's all defined by its assembly line animation, in which the spell of watching life-like characters and settings can be easily broken by looking at the backgrounds of shots for just a few seconds.

It's one of the year's most convoluted original screenplays, but is probably best taken as a test in plot summarizing.

A disastrous movie, Don’t Look Up shows McKay as the most out of touch he’s ever been with what is clever, or how to get his audience to care.

As loud and in-your-face as these developments are presented, they're amount to a shabby collection of Blumhouse-lite scenes that would be a parody if it weren’t so dull.

A project clearly made by a first-time actor-turned-director, who is most concerned with their own scenes and casting.

William simply devolves into a drab, moody morality tale for parents about not treating your kids like test subjects.

As the story bloats to two hours by mistaking itself for an epic, The Outsider falls into a pit of boredom somewhere between the white savior complex of Tom Cruise in “The Last Samurai” and the much slicker kills by Alain Delon in “Le Samourai.”

Mighty Oak is clumsy when presenting its darkest stuff, and can't balance that with its sporadic attempts at broad humor.