Rebecca Pahle

Unfortunately, a solid premise can only carry a film so far, and Goldhaber fails to deliver on Cam’s potential.

No one-dimensional, stone-cold badass here—this version of Laurie Strode is among the most nuanced horror heroines presented onscreen over the last handful of years.

There are disjointed elements here—a modern-leaning script, driftless performances and an overwrought score from Jeff Russo, its clanking piano more suited to an out-and-out Gothic thriller—that Macneill is ultimately unable to wrestle into a cohesive, compelling whole. The result is a dull retread of a story that deserved better.

In story and in visual style, The Predator feels less like a Shane Black movie than a generic, middling Hollywood blockbuster helmed by a workmanlike studio hack who occasionally asked Shane Black for advice.

If you expect the humor to be any smarter or more original than “Hey, look, this puppet has pubes!,” you’re going to walk out disappointed.

Is it a particularly great movie? No. Does it have some pretty major structural problems? Yes. Does Jason Statham fight a giant, prehistoric shark in it? Yes. Verdict: See The Meg. The Meg will cleanse your soul.

The Darkest Minds isn’t atrocious so much as it’s just plain dull, which is a worse kind of bad to be.

Ultimately, Teen Titans Go! To the Movies is fun enough, if unmemorable. If you’re not already invested in the property, you probably won’t find enough in it to make it worth your time.

Unfriended: Dark Web doesn’t deserve your faves or your retweets. Instead, it’s a regrettably stupid horror sequel that was better left in the drafts folder.

The film does mix up the formula in some ways. Unfortunately, these changes are by and large for the worse. It edges away from horror and more towards action, favoring shootouts to scares. The latter are in short supply.