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.

What starts as a promising storyline soon dwindles as tired tropes take center stage and no sparks fly between the main pair.

Stitch Head has the vibe of a teenager trying to reach the minimum word count on an essay: as long as it gets done on time, then that's the main thing.

Duchess is a flat and forgettable riff on Guy Ritchie classics that doesn't have an ounce of the wit, charm, or glorious mayhem.

The lure of some solid '90s nostalgia should be good enough bait for a compelling story, but unfortunately, the only thing that Monster Summer reels in is a story that we've all heard a hundred times before.

Outcome is clearly coming from a personal place for Hill. It doesn't come across as too bitter or full of self-pity, but the point of the movie is never made fully clear. It moves at too quick a pace to leave much of an impact, and it's a bit of a tonal nightmare.

Brick fails to offer a compelling solution to its central mystery.

It wants you to buy into the heart and the humor without earning either.

Whimsical in concept but hollow in execution, Eternal Return drifts aimlessly despite Naomi Scott's glow.

Sarah Paulson breathes life into a so-so script, but the film's slow pace and lack of strong horror hold it back.

A short runtime kills any character development and tension.

For all the charm and innovation that That Christmas is going for, it ends up being a predictable and rather deflated movie that is playing to a much younger audience than it lets on.

We Are Zombies wants to be like Shaun of the Dead and Zombieland, though lacks the cleverness to pull this off.

For a horror-comedy, it's not funny, and it's not scary. It's a very strange amalgamation of little drops of each of these things, heavily diluted within what is largely a romantic drama, and as such, every time it tries to be funny or scary, it feels out of place and uncomfortable.