Siddhant Adlakha

A boring, weightless revenge experiment that quickly goes awry, Silent Night features none of the charm or visual panache that made John Woo one of Hong Kong and Hollywood’s foremost action stylists.

The first chapter in Kevin Costner's epic western series is a meandering, regressive snooze.

Despite its great performances, Next Exit is a mess of a movie that fails to take advantage of its own supernatural premise.

Part sci-fi satire, part futuristic dramedy, and almost entirely sterile, The Pod Generation seeks to make lofty comments about our world, and the politics of women’s and workers’ autonomy. However, it scarcely has anything to offer beyond the sleek technological designs it tries and fails to critique.

Bardo speaks the language of dreams, but it also speaks the language of explaining those dreams in the most boring and literal ways.

The twists of its premise soon end up souring it conceptually, resulting in rapidly-diminishing returns, with derivative formal flourishes that largely recall other, better films. It is, by the time its credits roll, completely exhausting.

It Lives Inside feels desperate to project specific cultural experiences, but it has neither the tact nor the aesthetic flair to weave a competent horror movie around them.

After five great seasons, Luther’s feature film adaptation proves to be a major let down, robbing the title character and his loyal fans of the little delights that made the series work.

Justin Tipping’s flimsy football horror movie Him is papered over with colorful lighting but underscored by bland ideas. Despite Marlon Wayans’ bravura performance, it makes very little visceral impact while en route to one of the most confounding third acts of any horror movie this year.

A low-energy comedy remade from a French farce, The Valet tries (and fails) to inject an absurd story of stardom and fake romance with added commentary and sentiment. Eugenio Derbez and Samara Weaving lead a more than capable cast, but they can’t overcome the film’s sluggish length and disconnected story.

Despite the caliber of its cast, “The Fabulous Four” never shakes the feeling that its on-screen talent is being severely misused.

A headache-inducing screenlife film that straps Chris Pratt to a chair and holds its audience hostage too, Mercy squanders its potential as a sci-fi thriller about the dangers of entwining justice and artificial intelligence. The result plays less like the tongue-in-cheek mystery-thriller director Timur Bekmambetov seems to be aiming for, and more like an advertisement to tech investors, making the movie chilling in unintended ways.

Sylvester Stallone doesn’t seem thrilled to be playing a superhero in Samaritan, a hodgepodge of non-ideas borrowed from better movies.

Both as drama and as science fiction, In the Blink of an Eye doesn’t probe these questions, but rather, drops definitive answers like anvils, leaving little room to ruminate, wrestle, or consider.

The premise may be intriguing, but the repetitive approach and nearly identical lead characters renders the Ocean's duo without their signature chemistry and strands them in a distractingly underpopulated criminal underworld.

Indiana Jones and the Dial of Destiny fails to recapture Spielberg’s magic. With uninspired action and conflicting themes and character motivations, it’s proof that some things should just be allowed to end.

It’s a strange-looking, odd-feeling film that gestures toward mystery and larger conspiracy, but it seldom pulls on these threads. Instead, it ends up an anodyne political drama that says little of note.

Nothing in the movie seems to matter, from its internal lore to the extraneous sequel setups that appear out of nowhere to the characters’ own ethoses. Audiences have not cared much about Sony’s non-Spider-Man Spider-world movies. That’s no surprise when the filmmakers seem to be this indifferent as well.

It’s a gorgeous-looking film, but a drag.

The result is a tale made up of numerous endpoints and thematic conclusions, whose dots don’t feel meaningfully connected, and whose situational oddities rarely yield excitement or intrigue.

The Radleys is a vampire horror comedy that can’t quite figure out its tone, so more often than not, it ends up in a lukewarm middle ground.

Pretty Lethal is a wonderfully original idea, but its execution falls flat.

A film about so many different things that it ends up about none of them, Aaron Sorkin’s Being the Ricardos is visually inert, and features an emotionally stifled performance from Nicole Kidman as the lively Lucille Ball. Javier Bardem brings energy to Desi Arnaz, but it isn’t enough to pick the disjointed pieces up off the floor.

Benedict Cumberbatch gives it his all in The Thing with Feathers, but the horror movie lives up to neither his performance, nor its own heavy-handed metaphor of a bullying crow-creature representing grief.

It looks drab and feels like it was made by people who want to leave its magical premise behind, even though the series refuses to have anything resembling grown-up politics or perspectives.

With Eddington, Ari Aster tries his hand at political satire and turns in his first bad movie.

Whenever it dares to display hints of dreamlike abstraction, Carmen quickly returns to its rote formless-ness, as a heatless desert romance about a pair of non-characters on the run. Neither mysterious nor boisterous, it’s one of the most head-scratching musicals in years.

Olivia Colman is a diamond in the rough, but even she can’t rescue a movie this flat and uninteresting.