Tom Jorgensen

Effectively moody, but disjointed and over-reliant on played-out horror audio gags, Undertone sounds better in concept than it plays on screen.

Scream 7 packs in plenty of satisfying slasher action, and may even bring some lapsed fans back into the fold by focusing down the scope of that action after Scream 6, but the new ideas it does bring to the table are either too thin to fully explore or ill-advised enough to detract from the success the movie does find in playing the hits, the deep cuts, and the killer tracks.

M3GAN 2.0 hotswaps horror for sci-fi/action to mixed results, but M3GAN’s absolutely heinous wit and killer moves leave her, and not the new genres, the star of the show.

Captain America: Brave New World feels neither brave, nor all that new.

Venom: The Last Dance trips over its own tendrils and lets a boring, generic plot, and bad action distract from the surprisingly resilient central relationship between Eddie Brock and his symbiote bestie.

Like a human turned into a creature of the night, Salem’s Lot kicks off with a strong sense of identity that slowly gives way to mindless vampire nonsense.

Transformers One’s strong central friendship – and a great Brian Tyree Henry performance – aside, this animated origin story could have used some major transforming before rolling out.

Ghostbusters: Frozen Kingdom’s tiresome, bloated plot and expansive roster of characters will leave you out in the cold.

Though its predestined, blockbuster exorcism sequence just manages to provide a satisfying conclusion to the story, the underdeveloped synchronized possession element creates more problems than it solves and adds bloat to a movie which would have benefitted from a leaner, more measured approach.

An underwhelming lead-up to the series finale, Fast X's only real redeeming quality is Jason Momoa's bonkers performance as the villain.

There are some memorable kills and reverence for the franchise at large, but it stumbles as it brings it to a close.

Studio 666 features fun performances by the Foo Fighters, but its “kitchen sink” approach leaves it open to unfavorable comparisons to the movies to which it pays homage.

Though visually engaging, Malignant can’t overcome the genre identity crisis at its core.

Though The Devil Made Me Do It is a smart recalibration for The Conjuring series, its successes have little to do with its strengths as a standalone horror movie. Ed and Lorraine Warren's investigation may be an engaging mystery, and their opponent is a franchise-best, but the scares are just not as potent in part because half of them center on a possession victim who’s really not easy to root for.

While it has an interesting hook, Chaos Walking never capitalizes on its premise or the promise offered by its cast.