Old Guy looks the part of a classic, character-based action-thriller, but, ultimately, the script is far too flimsy for the film to coalesce into something interesting. It's too bad, as Waltz could almost certainly crush in one of these, given the right material.

Although the cast does what they can with a script that never cuts deeper than the surface, their performances aren't enough to give Regretting You the emotional resonance expected from a story like this.

Despite one electric scene that makes the rest of the film feel more risible, Modi, Three Days on the Wing of Madness is a plodding, pretentious mess that is easily one of the worst productions of the year.

I think this would be best enjoyed by someone who had never seen the original 1984 film; that way, you won’t be constantly comparing the two in your head.

For a film that originally was thought of as a subversion of the Star Wars franchise, Rebel Moon - Part One: A Child of Fire feels pretty similar to an installment of it.

Smurfs is better than its maligned predecessors, but it's still an absolute mess.

The Garfield Movie is silly to a fault, feels seventeen hours long, and lacks any pulse of life.

All the emotional beats from start to finish are just completely unearned — it's as if every foundational aspect of a good horror story has been washed away, too.

Juliet & Romeo isn’t necessarily a good film, but it is a very fun film, and there are far too few films that seem content in simply entertaining for the sake of entertainment.

Struggling through an identity crisis, The Crow is doing too much and, as a result, doesn't do enough to serve its core narrative.

The occasional moment of machine gun motorcycle jousting aside, it is a largely dull and dreary experience that never feels like it is ever anything more than a hollow mimicry of far better action works of the past.

Overall, The Electric State doesn’t hold a candle to any of its esteemed cast’s other films, but impressive visual effects and great music help it from being a totally pointless foray into the wasteland.

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.

Aside from The Mean One himself, there was too much not to like in this film.

Without the foundation of solid writing for Pine to direct from, everything ends up being lackluster and takes away from that aspect, no matter how strong the cast is and how cartoonish the situations are.

It's a Frankenstein'ed monstrosity made of different horror approaches, except instead of bringing something to life, unrevivable ideas remain limp and useless.

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.

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.

Blood and Honey 2 still isn’t exactly “good,” and it might be a bit premature to start working on a sprawling Poohniverse, but considering the dregs this series began at, this is a flawed improvement that’s still a bear of little brain.

Overall, the biggest takeaway that I had while watching Mary is that it was a missed opportunity. A missed opportunity to give the mother of Jesus more development than we've seen in prior depictions of the Nativity story, and a missed opportunity to truly show the cruelty of Herod's actions as a ruler.

Borderlands is a fun ride, but a bloated cast and breakneck pacing don’t allow it to reach its full potential.

Ultimately, History of Evil lacks the teeth and the scares to be a truly effective horror movie, acting more as a mildly infuriating thriller.

Madame Web wastes a talented cast on a superhero movie shockingly devoid of tangible humanity.

Freelance, like Cena’s Mason, wants to be something more, but maybe it should’ve settled for something a little more simplistic and straightforward and found the joy in that.

There is a cacophony of sound and color which provides some spark to it all. It just is burdened by unshakably tiresome plotting that is made all the more meaningless when it decides to walk back much of what already felt far too small in its creative and emotional scope.

Where the first movie left fans satisfied with the bare minimum, and non-fans bewildered with boredom, the second installment will likely leave fans even happier and non-fans satisfied with a solidly entertaining robot slasher.

There are fractured elements that, with a little polish, could’ve been something much more, but this is just a generic, unremarkable horror film.

Me Time just goes through the motions of a wacky comedy without any of the actually funny components.