Ross Bonaime

Yates makes Pain Hustlers part-rowdy dramedy, part-half-assed takedown, and entirely an underwhelming film that attempts to make apparent and bland points.

Beyond these two endearing actors being able to gleefully chew the scenery, The Gray Man is mostly a collection of tired spy tropes, directed in a muddled and baffling way, that seemingly exists to set up what seems like will be a fairly unimaginative franchise.

With The Son, Zeller is trying to bring the same sincerity he brought to The Father into his second film, and instead, The Son unfortunately feels false throughout.

Disney has been at the forefront of animation in film for much of its 100 years and their legacy is unparalleled. That’s a lot to put on the shoulders of any animated film, but Wish, with its mundane celebration of this history, is a disappointing commemoration of these accomplishments.

There is potential within the Shazam! films that have never quite been met. Especially with this latest installment, this often feels like DC’s attempt at having a Spider-Man-esque character in their roster, and if you squint, you can almost see that possibility.

Possibly the biggest surprise to Luck is just how generic and uninspired it feels, despite how many ideas are crammed into this story. There’s no wonder, no excitement, no jokes that land.

Disenchanted posits that happily ever after isn’t always the ending of the story, but Disenchanted also proves that sometimes, maybe it should be.

Finestkind has all the right pieces to make an interesting drama, but Helgeland can’t get them together in a way that isn’t over-the-top and downright silly.

García’s latest film is a predictable, completely fine, but uneventful dramedy that never quite finds a way to dig itself out of mediocrity.

After a decade away, Jeunet has returned to embrace all of his worst eccentricities to create an absurd mess.

The vibe of Him is trying to make the audience unnerved, but the story and imagery being presented are too goofy to take this attempt seriously.

Blood and Honey 2 still isn’t exactly “good,” and it might be a bit premature to start working on a sprawling Poohniverse, but considering the dregs this series began at, this is a flawed improvement that’s still a bear of little brain.

Beyond some decent performances that aren’t done justice by this script, and some fairly wild leaps into horror, Forbidden Fruits isn’t ripe, it’s just rotten.

Seinfeld has made a directorial debut that ends up feeling like a bowl of sugary cereal: not a terrible thing to eat, but not as fulfilling or substantial as you might’ve hoped it would be.

The Gallerist is a disappointment, especially considering that Yan’s last movie as director was the vastly underrated DC film, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) from 2020, a hyper-stylized, playful, and unconventional take on the superhero genre. It would’ve been wonderful to see that version of Yan here, creating an unhinged look at the art world that was experimental, spirited, and daring in the way that film was.

There are fractured elements that, with a little polish, could’ve been something much more, but this is just a generic, unremarkable horror film.

Unfortunately, Bubble & Squeak far more often embraces the ridiculous more than the realistic, and ultimately struggles to combine these two into a whole that works.

Winner is a bold idea that almost immediately proves itself to be a misconceived mess.

Edward Berger's latest is all style and no substance, despite giving Colin Farrell a weird role to sink his teeth into.

For a story that should be brimming with intrigue, danger, and the horrors of inventing your own reality, The Wizard of the Kremlin is instead a bloated, tiring recitation of facts that doesn't know how to elevate its dark subject matter.

With The Greatest Hits, Benson gives us the film equivalent of an album with a cool cover that masks the inadequate record within.

If the 1940 Pinocchio showed that any wish your heart desires could come true, this remake shows what happens when your nightmares come to life.

Paint is an odd attempt to make a comedy while also doing the least amount to make that comedy actually funny.

With bad direction, terrible acting, and a world that has no weight behind it (especially since most of it was clearly made in a computer), this isn’t the way to bring Silent Hill 2 to the big screen. This powerful survival horror story has been turned into an ugly, laughable adaptation that proves that maybe we should’ve never gone back to Silent Hill.

The problem is that these types of films feel lazy and could do so much more with their concepts, and while Screamboat tries to combat that with tame references, winks at the audience, and absurd violence, it can’t keep itself afloat.

This Strangers trilogy was an ambitious concept that quickly became a disastrous failure that completely misunderstood this series to begin with. Even after all this build-up, this final chapter fizzles out to an underwhelming conclusion of a journey that wasn’t worth taking to begin with.

Glenrothan is cloying at times, but more often, irritating in its presentation of a story we’ve seen so many times before, done poorly.

Freelance, like Cena’s Mason, wants to be something more, but maybe it should’ve settled for something a little more simplistic and straightforward and found the joy in that.

Dominion isn’t just the worst film in this frequently disappointing franchise, it’s also one of the worst major blockbusters in recent memory.

Imaginary is a mess of a horror film, with poor narrative choices, obvious twists, and clichéd characters.

The Strangers: Chapter 2 is a true disaster, one of the worst horror films of the year, and it’s a damn shame this is what this franchise has come to.

Who knows what Paws of Fury: The Legend of Hank could’ve been when it was originally envisioned over a decade ago, but what it ultimately became is a tiresome, tedious, and uninspired animated adaptation of a classic parody that doesn’t have any of the original’s comedic wit or bite.