I see dead people in this film, but their cause of death is simply boredom.

Dreams is probably the same old story for Michel Franco fans, but as a first-time viewer, I was in awe of how a film could go so wrong so quickly.

Mad About the Boy is the disappointing end to a franchise that should have never gone beyond its first sequel.

One or two jokes might cause a titter, but the other ninety-eight percent of this unfunny deflation has nothing to offer but hormonal awkwardness without the gut-busting payoff.

The pieces are all there for a perfect summer favorite, so it’s a shame that none of them really come together to form a cohesive whole.

The Mastermind vascillates between wanting to lean into the thrills of a heist and falling back on Reichardt's tried-and-true formula. The result is a confusing mix of tones with a fairly basic concept that rarely dips below the surface.

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

A lot is going on all at once, but little of it coheres into anything substantive, let alone actually memorable or meaningful.

'The Home' is a lame horror misfire saved only by its unhinged third act.

What saves this movie is Taylor-Joy and Teller. Though their in-person scenes aren't nearly as endearing as their scenes with each other across the gorge, the two do have great chemistry. They're interesting to watch together, especially during their action scenes.

Even during the fantasy musical numbers, which give cover to stray from the overall aesthetics of the film, Phillips is just incapable of delivering the genre’s requisite razzle dazzle that would surely complement Joker’s persona.

Suffice it to say, Captain America: Brave New World is not the 2025 start that Marvel fans may be hoping for, with more pressure now being put on Thunderbolts* and The Fantastic Four: First Steps. If anything, the film has more in common with Sony's disastrous attempts to make its own Marvel movies than it does with the prior entries that turned the MCU into what it is today.

Despite a top-tier cast and bone-rattling action to keep you engaged, the Netflix flick buckles under a cluttered story with chaotic execution. It’s watchable, even entertaining in bursts — but beneath all the bruises and broken bones, there’s not much else to hold onto.

Much like the city being built in the film, it’s all more interesting in theory than it ever is in actuality. Now that we will all have the chance to take it in for ourselves, the greatest revelation is that there just isn’t that much there to see.

Bloat really doesn’t seem like a movie that knows what it wants to be.

There are masterful works of horror that have proven less can be more. Despite some of its promise, Baghead is not one of them.

Watching the movie is like seeing a concert from a seat in the back corner. You're still there for the music, but you have the view furthest away from the artist himself.

All in all, the movie is a series of missed opportunities to create compelling storylines, and it's a shame that it doesn't use anything it presents on the screen to its advantage.

Unfortunately, Bubble & Squeak far more often embraces the ridiculous more than the realistic, and ultimately struggles to combine these two into a whole that works.

Those hoping to see their favorite killer Fisherman tackle some fun action sequences will get their money's worth, even if the villain's resolution will raise a lot of eyebrows. If you're looking for something deeper, like fleshed-out characters both new and old and a twisted mystery tale, then this newest installment doesn't hit the mark.

Unfortunately, Love Hurts never does its stars justice as a lazily slapped-together action-comedy with a script that feels like it never had a second draft.

Winner is a bold idea that almost immediately proves itself to be a misconceived mess.

Though it assembles some of the right ingredients before laying them out before you, it never proceeds to arrange them in any particularly interesting or entertaining way.

Young Werther isn't a terrible movie by any stretch, but it also feels like it relies far too heavily on your typical romantic-comedy clichés for it to stick out. It's a shame, as Booth and Pill are insanely sweet together, but the execution ultimately feels too unremarkable to be memorable.

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

Varley's talents as a director are evident for the first half at least, but after that, The Astronaut becomes a head-scratcher.

To its credit, there are some decent gore scenes, and the practical makeup is done well, but not enough to distract from some pretty laughable special effects. Compared to the original and even the 2010 version that won the Oscar for Best Makeup, Whannell’s version isn’t breaking any new ground.

Unfortunately, Dark Match never quite settles on what kind of horror movie it wants to be, and, too often, its overall tone doesn't play to the strengths of its premise.