The Teacher is not what it sets out to be. It is too melodramatic, too bloated, and too messy to work.

Unfortunately, We Kill Them All doesn't know how to escalate its story beyond its initial premise, fumbling to make this concept work once it has been laid out. While the movie seems to that that less is more, the weaknesses of the film prove that isn't the case with this film.

Although Off the Record is well-intentioned, it misses more beats than not.

A Widow's Game sets out to be an intriguing portrayal of a high-profile case but doesn't really hit the mark.

Sting is a horror movie about a killer spider from outer space that somehow falls short of the fun potential of such a premise.

Chumbawamba was clearly a band that wanted to do great things and fell short of that goal, and similarly, I Get Knocked Down is a curious concept to explore, but gets bogged down in its apparent attempts to be weird for the sake of being weird.

The movie doesn’t stand out for its action scenes, has nothing new to say about the old good-versus-evil conflict at the center of any superhero story, and is incapable of giving its villains real purpose. Stallone is a strong man, but even he cannot carry the weight of an entire movie alone.

Neither wacky enough to be a winning comedy nor clever enough to be a horror sendup, We Have a Ghost is a film that leaves little to grasp onto as it all just ends up slipping through your fingers.

For all the promise of its main cast and sturdy thriller premise, The Menu is a work that seems destined to slip from your mind.

While Luhrmann can do his best to recreate the glitzy, nonstop nature of Presley’s life, in those final moments, it’s easy to see that Elvis lacked the weight that this real footage captures. It’s that little bit of substance that reminds how hollow the previous hours of style have been.

It’s clear that Boston Strangler so desperately wanted to copy the recipe for Zodiac and bought all the same ingredients.

Smith is still a competent director, and Consecration can boast some moments of brilliance sprinkled all over it. However, the messy script drags Consecration down, and fans still expecting a new Triangle will have to wait a little longer.

It's trying to be a slasher movie so we ultimately have to judge it by those standards. And as a slasher, with its thin plot and flat killer, Haunt Season doesn't cut it.

The Devil And The Daylong Brothers is brimming with potential. It's not afraid to take some risks, which is more than you can say for over half of the movies that get released every year. Its only setback is that it puts its style ahead of character development.

It is still a well-made film, with fantastic acting and a beautiful, modern house set out in the middle of nowhere, but it is not the shocker that it was when it was new. Knowing the twist, and the minor changes that were made for an American audience really soften the movie. If you enjoyed the original, the American remake would be perfect fodder for your parents.

More often than not, Ejiofor bullet points the unfolding events rather than coalescing them into a dramatic arc.

Though possibly well-intentioned, the execution of The Covenant ensures its narrative and thematic potential is drowned out in the roar of gunfire it becomes far too enamored by.

Trust does a great job of showing what Turner is capable of. The problem is everything around her. Pardon the pun, but it takes an interesting premise and doesn't trust itself to craft a compelling story with interesting characters around it.

There's some fun to be had here, but overall, Jurassic World Rebirth feels indicative that this franchise is not dissimilar from what the original film is trying to say about the ethics of cloning dinosaurs.

The Old Guard 2 feels like nothing more than setup, with scene after scene of dialogue and exposition and little actual fighting.

Daddio is a repetitive and reductive experiment in dialogue-driven storytelling.

A fun concept does not automatically mean a quality film, as the overly intense direction, hollow scares, and imbalance of tone make it a thrown-together mess.

Is Venom: The Last Dance the best film in the trilogy? I would say so, and I'd be lying if I said I didn't have quite a bit of fun while watching it.

Moonfall, unfortunately, becomes a mixture of Emmerich’s usual clichés that are starting to show their age, a script that only occasionally embraces the insanity of this idea (even though the third act goes all-in on getting mind-numbingly stupid), and a scope that doesn’t do this story justice.

We Bury The Dead is a sprawling but sparse zombie remix that's too far removed from the genre it's exploiting.

With disregard to elements it itself establishes and featuring more characters than it knows what to do with, the film forgets to flesh out its comedic potential and sticks to the repetition of a handful of jokes, even when some of them fall flat.

It’s more than just a failure of a remake — it’s disappointing on its own standalone merits, too.

Carmoon establishes a plot that could have been great, but becomes too caught up in the visuals of it all, and the script pays the price.