Even taking it as a given that Disney’s animated classics will all receive live-action makeovers eventually, Pinocchio feels like an unnecessary exercise – a movie so flat that it never sparks to life, and barely feels as if it’s making the leap into a different medium.

Cats isn't quite the unmitigated disaster that some feared -- or perversely hoped -- but it's not good, delivering a mostly incoherent adaptation of the long-running musical. An eclectic roster of stars claw out a few meager moments, but as screen experiences go, this is a memory best forgotten.

An understated, uneventful slog of a movie that feels like a misguided merger of "Gran Torino" and "Bronco Billy."

Splitting the movie into three chapters seems appropriate, since the film delivers a trifecta: overwrought, overacted, and overlong.

For Cox, a veteran actor with no mountains left to climb and few concerns about speaking his mind, Prisoner’s Daughter plays like one of those movies where you just take the money and run.

While some might find it possible to have fun by surrendering to the silliness, this bad moon doesn't quite rise even to the level of a guilty pleasure.

If the previous movie conjured a bit of excitement by eradicating everything that had transpired after the original, that sense of novelty has quickly worn off.

Even for an action comedy, this Lopez-produced effort is inordinately skewed toward putting everything that might entice someone to watch in the trailer, beginning with the shot of Coolidge hoisting an automatic weapon to defend the wedding party. As hot as she is off “The White Lotus,” she can’t redeem the tiresome execution.

The near-four-year gap between movies does help in one respect, allowing people to largely forget what left them unimpressed about the original.

The Forever Purge's once-over-lightly politics don't merit much of a fuss, playing like a cynical exploitation of real-world issues.

Apatow serves up some clever lines, but they're mostly lost in the overall noise and manic tone. While it's not necessarily too soon for a funny Covid movie, The Bubble labors to achieve a sought-after level of zaniness right up until the ending.

A sort-of psychological, semi-erotic drama that, despite its literary pretensions, possesses roughly the intellectual heft of a perfume ad.

Spiral, however, doesn't chart its own course as much as simply try to have it both ways. And if the title implies a certain motion, the main direction the movie heads is essentially down the drain.

Although streaming provides a logical venue for this small-scale film, it's hard to think of a time or platform where this adaptation from British director Joe Wright ("Darkest Hour," "Atonement") would have felt satisfying, with an ill-considered, twisty finish that's a sizable letdown from the already so-so material preceding it.

A new do-over that can barely generate enough heat to qualify as a thriller.

65 represents such an uninspired effort as to look like a fossil even before the credits roll.

Forty-four years, 13 movies and innumerable corpses later, it sounds naïve to think “Halloween Ends” will really mark the end of anything, but like the holiday for which it’s named, it’s fun to pretend. The producers do seek to bring finality to this latest trilogy featuring Jamie Lee Curtis, although that turns out to be the only original idea they conjure in an odd, tedious film.

The resulting movie, however, hits the wrong notes, repeating mundane lyrics without uttering the words that keep coming to mind, which are "precious" and "pretentious."

Strange and more than a little sad, You Cannot Kill David Arquette -- a documentary about the actor's adventures in wrestling -- derives most of its strength from the discomfort associated with watching it. As the son of a showbiz family, the fact that Arquette is reduced to this cry for attention more than anything reflects the enticing lure of the spotlight.

That seed of potential, however, sails away on a tide of numbing stupidity.

While ‘Resurrections’ again offers a choice between the red pill and blue pill, the one thing that won't be necessary -- especially for those choosing the home-viewing option -- is a sleeping pill.

Zombies 3 is creatively dead on arrival, reviving the concept at least once too often.

Part heist movie, part family reunion, the film draws upon the most salient characteristics of the flabby feline, but mostly as an excuse to build a story that seems to crawl further from its origins with every passing frame.

Look, we get it, people are looking for new stuff to watch, mindless escapism included. Still, in terms of any sort of inspiration or originality, "Kate," the movie, is every bit as D.O.A. as Kate, the character.

Most notable as a vehicle for Jason Momoa, this wannabe spectacle from “The Hunger Games” director Francis Lawrence serves up lots of special effects desperately in search of a story.

“Godzilla vs. Kong” director Adam Wingard and a trio of credited writers probably make the right decision in treating all this with grave earnestness, which doesn’t render most of the situations, dialogue and the climactic encounter any less laughable.

A bloody mess.

The star’s latest film should attract flies, all right, not with honey, but rather the stale aroma of its inane premise.