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.

Dan Farah's directorial debut is the kind of movie that is bound to stir up conversation, especially if it ends up being bought up by a streaming service (this feels tailor-made for Netflix). Unfortunately, it's executed in the most bland way possible.

There are very few classic hallmarks of horror films in The Black Phone. They arrive in the third act, but before that, it is a lot of… nothing. Talking. No cat-and-mouse chasing. No killing. Not even any suspense.

For all the ways that Darby and the Dead tries to give its abundantly safe story some life, it can’t break free of a narrative hellbent on dragging it to the grave.

The Pod Generation ends with a thud, leaving the audience to question what the purpose of this endeavor even was.

Even though the brutality is seemingly never-ending, we never dull to the constant barrage of pain—both physically and emotionally. Yet when Fuqua and Collage aren’t focusing on the cruelty of this world, the film stops dead, lumbering through the motions, complete with derivative choices, characters, and dialogue.

Measures for a Funeral is brimming with style and painstakingly researched, but the fact Bohdanowicz seems to insist on showcasing every tiny detail she discovered at the sacrifice of making a leaner, more focused, and riveting story causes a dissonance that makes it feel dead on arrival.

Trap is another promising thriller from M. Night Shyamalan, but his filmmaking choices simply can't do this conceit justice.

All the clear love the film has for the references it is throwing out is never molded into anything memorable of its own.

There's nothing about The Family Plan 2 that particularly stands out aside from the European Christmas setting. Despite having a slightly different premise from the original, much of the film plays out like a sitcom. Yes, it's an improvement over the first movie, that's not saying much when your predecessor was already lackluster.

Bloody Axe Wound may not be a satirical masterpiece, a profound coming-of-age work or a belly-aching comedy, but its surface is shiny enough to guarantee a bloody good time while watching it -- just don't bite the blade any deeper.

While the title promises fire, the only riddle remaining is where the adventure it was searching for ended up disappearing to.

It's clearly intended to be a companion to and showcase of the simultaneously released album instead of a fleshed-out, standalone film. Regrettably, it never lets the audience forget that fact, feeling far more like a long music video than a feature film.

Fans of space-based thrillers may get enough out of the movie to be moderately entertained, but anyone else intrigued by the idea of six astronauts floating above a world that may have blown itself to hell is likely going to find themselves disappointed by the fact that I.S.S. barely takes the time to reckon with the unimaginable horror that should have been dawning on these characters.

The film feels like it's making use of storytelling devices and clichés that have been used over and over again in other stories. The end product is something that is serviceable and easy to digest, but also far too familiar, lacking any major innovations.

Disney Channel's latest sequel has all the bells and whistles, but not much in the way of substance.

You won't forget Alan Ritchson. If he can make crap entertaining, imagine him in a comedic role with a much better script