With the options of taking the audience on a fully-fledged bang-bang Western adventure or commenting on the genre’s issues in past decades, Dead For a Dollar chooses to do neither and wastes its stellar cast with drowsy performances which never make you root or fear for any character.

While there are many promising pieces being assembled, with arresting visuals bolstered by the performances of Mescal and Barrera, any awe to be had in Carmen becomes dashed by its own emptiness.

While the group of actors who play the students offer strong performances, particularly Luke Barker, Ksenia Devriendt, and Florence Baker, Hausner's meandering feature eventually concludes without a real ending.

There is potential within the Shazam! films that have never quite been met. Especially with this latest installment, this often feels like DC’s attempt at having a Spider-Man-esque character in their roster, and if you squint, you can almost see that possibility.

Possibly the biggest surprise to Luck is just how generic and uninspired it feels, despite how many ideas are crammed into this story. There’s no wonder, no excitement, no jokes that land.

Disenchanted posits that happily ever after isn’t always the ending of the story, but Disenchanted also proves that sometimes, maybe it should be.

There’s no way to hide the lack of substance in We Bought a Zoo, making it hard to justify returning to this decade-old film.

Finestkind has all the right pieces to make an interesting drama, but Helgeland can’t get them together in a way that isn’t over-the-top and downright silly.

All through the scattered experience, Page is a shining light. Every move he makes gives the film something greater that it is never able to grasp.

To see Clooney and Roberts team up again when they have demonstrated in the past (the Oceans movies and Money Monster) that they go together like rum and coke is a lot of fun, but it also makes it undeniably noticeable that they deserve better. I don't mean an Oscar-worthy dramatic biopic. But a rom-com with some nuance and wit.

It is a work that is so caught up in the noise that it drowns out the moments of the profound silence that could have spoken to something more.

García’s latest film is a predictable, completely fine, but uneventful dramedy that never quite finds a way to dig itself out of mediocrity.

Its dialogue is constructed in a way that would sound unnatural even in a daytime soap opera, and Kruger works her best to save it, but there’s only so much she can do. The story is so poorly developed it feels like an outline of a script, all in favor of a final plot twist that would be jaw-dropping…in the 1930s.

The Out-Laws has a workable premise with a great star-studded cast led by a sincere DeVine and is funny with great potential outside its humor. But it never hits the mark and only works in pieces due to recycled ideas and formulaic tropes across clichéd writing.

While its predecessor proved to be a goofy and satisfying watch, the sequel is never able to fully recapture the charm. You're much better off rewatching the first film.

There is never a moment when you're swept away by the romance of Walt and Sophie and that should be the point of all of this.

After a decade away, Jeunet has returned to embrace all of his worst eccentricities to create an absurd mess.

For all the classic horror stories it gestures at, Killer Book Club never is able to tell a memorable one of its own. No matter how many empty escalations and confrontations with the killer it makes its way through, the real clown show is the film itself.

While Comer makes a committed effort to carry the film, it falls flat in its excessive filler, undeveloped characters, and symphony of bonkers accents.

I'm never one to complain about a 98-minute action movie, but, in the end, In the Grey feels rushed. Some extra time could have not only paid off all that planning Sid and Bronco do in more impressive ways, but also given the characters more space to feel like actual characters, as opposed to just standard-issue tough-guy archetypes.

Renner lands as a forgettable and tedious watch, made worthwhile only by surprisingly dynamic performances from the small ensemble cast.

For now, stick with the original.

Bionic is another sci-fi dud for Netflix, bringing nothing new to the genre and not much more to its action sequences.

The vibe of Him is trying to make the audience unnerved, but the story and imagery being presented are too goofy to take this attempt seriously.

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.

Lilo & Stitch feels like it was made by a boardroom of folks who wanted to sell more Stitch merchandise. Chris Sanders and Maia Kealoha have enough charm to keep families entertained, but it's also hard to deny that these two characters are just as, if not more, endearing in a film you can watch right now on Disney+.

For all of its dourness, there is still a bit of entertainment to be found. It's just too bad the film is taking itself far too seriously.

Despite Rebel Wilson's signature comedy and her reunion with Pitch Perfect co-star Anna Camp, there is little that can justify an audience member giving this film a chance.