As it stands, Vampires of the Velvet Lounge is exactly what it seems to be: a messy, mildly entertaining vampire movie that works best when you’re only half watching it.

Dolly is a miss of considerable proportions.

Either the twist needed to come earlier, or the filmmakers needed to do a better job of making sure it provided enough of a jolt to make the previous, largely generic 85 minutes worth the effort. As it stands, Protector's twist ending feels adrift in a movie that's not compelling enough to support it.

Emerald Fennell's film is merely telling a shallow story about two people overcoming all obstacles to fall in love — not necessarily awful on paper, but it's an adaptation that feels like a 14-year-old skimmed the book and jumped to her own conclusions without any true understanding of the novel.

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.

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.

Although the concept of making a thriller that examines somnambulism seems quite captivating, Sleepwalker doesn't effectively incorporate this complex disorder into its premise, resulting in a puzzling story about a woman going on a spiral without any healing prospect.

At the center of this mess sits a set of performances that are, beyond some writing oddities, pretty good.

It's flat characters on an unfinished stage, rehearsing a bad script, with no weight behind any of the odd choices and filming techniques. It wants to be a movie, but it doesn't know how. Just stay on your horse and ride past this one.

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.

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

It’s a totally pointless pursuit that has no interest in interrogating why A Serbian Film came into existence, only how. An 80-minute behind-the-scenes promotional featurette for a film that, even after an entire documentary devoted to defending its existence, still feels completely meaningless.

Eddie Murphy's The Pickup is a dull and lifeless action-comedy that provides neither laughs nor thrills.

By the time the credits roll, Diciannove doesn't give the viewer enough food for thought.

A messy, confusing and thoroughly unengaging experiment, with the kernel of a good idea underneath.

Ultimately, Skillhouse boils down to a bunch of stuff that just happens to characters we don't care about, who make choices that don't make sense for reasons that aren't well grounded, in a place that's poorly shot, in order to say things that have been better said elsewhere.

Outside of a few creepy images, The Ritual is not even remotely scary.

Sneaks is borderline unwatchable.

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.

There’s a fascinating movie to be made about this period and these characters, but Ott's telling is simply not up to the task.

For all the faults O'Dessa has, it's clearly a film made with an abundance of passion and creativity. It's a gender-swapped, punk rock, post-apocalyptic reinvention of the myth of Orpheus and Eurydice. It's also a movie that largely doesn't work and trips over its own ambition.

If you have been eagerly looking for a mash-up of Parasite and Fresh that fundamentally misunderstands why both films resonated with audiences, by catering to the deeply ingrained xenophobia of the upper class, then Delicious is the film for you.

In the Lost Lands could have been an exciting story about witches and werewolves in the post-apocalyptic world, but instead, it's more lifeless than the green-screen backgrounds that consume its runtime.

It's an oddly cobbled-together hodgepodge of ideas and little real inspiration that could have graduated to fun schlock with a little more love.

Set to be released alongside an accompanying documentary and book, this film feels more like a way to peddle Christianity under the guise of good faith, made worse by confusing creative choices and a painful lack of self-awareness.

It's a film that largely rests on an edifice of clichés, contrivances, and ungrounded choices, needing greater development to actually land.

It's hard to find any redeeming qualities in Last Days. Its pacing and multiple storylines, not to mention jumping back and forth in time, only work to make the viewer disoriented when it comes to bonding with a character who already does not feel that sympathetic.

Unable to make his ideal documentary about the Zodiac Killer due to a rights issue, Shackleton breaks down the movie he might have made in painful detail that reveals a shocking lack of self-awareness, systematically dismantling the genre without an ounce of introspection.