Sadly, Nightwatch: Demons Are Forever is another example of a sequel that exists just to reminisce on what came before without doing much new until it's nearly too late.

Instead of a flowing narrative, it’s a series of scenes, the worst and best parts of their 13-year relationship, and doesn’t come together well enough to feel like a complete story. This combined with the lack of Coppola’s vibrant, feminine, and electric aesthetic makes Priscilla a major disappointment from a true cinematic visionary who's capable of better.

If Day has shown anything with Fool’s Paradise and the long road to get it made, it’s that he has passion and a vision, and a dedication to making a project that works for him. Fool’s Paradise might not work as well as it should, but fingers crossed that Day keeps at it.

Ultimately, My Secret Santa feels like one of the more forgettable Christmas movies of the year. It is not funny or wacky enough to appeal to kids the way Doubtfire does, and it isn't charming or thoughtful enough to appeal to adults.

Elevation is a thin story with every trope and stereotype you've seen from better monster movies

Try as it might to tackle complex themes and serve up some steamy romance, both endeavors fall flat and will likely leave audiences underwhelmed.

This supposed breakout strains to be edgy while remaining painfully inert. It initially makes for a sporadically fun game to play before revealing how little it has on its mind.

Despite how transgressive and inventive Dalí was as an acclaimed artist, Dalíland is content to create a story that plays it all too safe.

It’s pretty easy to fall in love with Ari and Dante, but the movie is only in love with the idea of them, neglecting quality time between the characters that would really make us feel like they've traveled through galaxies and beyond.

From a talented cast in Léa Seydoux, Louis Garrel, Vincent Lindon, and Raphaël Quenard to an initial willingness to be ruthless in tearing apart the messy art of moviemaking, it could have been something truly great. nstead, just when you think this movie about making movies is starting to get somewhere interesting, it reveals itself to be only a sporadically funny satire with a surprising lack of teeth.

The truth is that by the film's final moments, the audience will likely leave their viewing experience with a headache and a bitter aftertaste from all the melodrama.

Diablo brings the action, but the movie gets tripped up by a villain who doesn't quite fit the story.

Finally Dawn can be commended as a homage to Italian cinema and its effort to cater to an international stage, but it stumbles on its ability to follow through on its promises, leaving us a mesmerizing world that ultimately rings hollow.

Every actor probably knows that this script is pretty useless, but that doesn't stop any of them from putting their best foot forward. Including Lohan, they all look like they’re having a blast and that really comes through to the audience.

You’ll Never Find Me gets lost in its own madness. Its ending is less ambiguous and more thoughtless.

With Aquaman and the Lost Kingdom, we get the best and worst of the DCEU, but also a reminder that there’s still hope for these characters, with a bit more focus, and a reminder of what works and what doesn’t with this world.

Scream used to poke fun at the silliness of horror movies and laugh at the genre's clichés, but now, it’s indistinguishable from the films it once gleefully lampooned, in what is easily the worst installment so far.

Don’t Move is a tense but ultimately forgettable experience that will likely leave you — much like its protagonist — staring tiredly, and blankly ahead.

While Park injects his own joie de vivre to his on-screen performances as an actor, there is a distinct lackluster quality to Shortcomings in its biggest moments. It feels, at times, generic. The story, penned by Tomine, still holds the same feelings for me as the graphic novel, which is to say that at least they provoke thought, but Park’s own style feels far from refined.

Intriguing moments of animation experimentation and a new batch of characters just aren’t going to be enough to keep this series worthwhile. Right now, Trolls is going in one direction, and it needs to shake it up a bit more to make things in sync again.

With a messy story and confusing characters, Aïnouz's Firebrand is a disappointment to behold no matter how exquisite the film looks.

The problem is The Curse of Bridge Hollow isn’t clever enough to carve out a niche of its own and is defined by the diminishing returns of derivative genre riffs from start to finish.

Gunslingers can't quite escape feeling like forgettable VOD junk. It does at least try to rise above its standing, and, at times, it comes close to pulling it off.

Frozen Empire attempts to evoke the past with constant callbacks, while trying to make the audience care about a more modern story with characters for a new generation, and ends up failing on both counts.

There's Something Wrong With the Children is fine as it is for a casual watch, but it’s painful to watch such a talented cast trying to salvage a bland horror film that had so much potential to be unforgettable.

Maslany can effectively react to shadows and reflections, and Perkins can navigate this cabin to maximize its horror potential, but without the screenplay to back them up, this just becomes a curious experiment without much focus.

In the end, The Cow ends up a collection of tonal blunders and performances that are too big for this smaller-scale thriller.

While parts of it are laudable, unfortunately, Emmi’s film feels underbaked, never truly elevating its story to generate the kind of deeper effect that similar thrillers have managed to elicit.