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.

Edward Berger's latest is all style and no substance, despite giving Colin Farrell a weird role to sink his teeth into.

Stranger Eyes is a cold, disjointed, and stale mystery thriller with a thin plot and no atmosphere.

Madelyn Cline and KJ Apa engage in a summer romance that neither makes your swoon nor sob.

It's a cluttered mess of a movie that should have scaled back, stuck to the basics, and delivered what we were all hoping for: over-the-top ratty carnage.

The film does so little work to make me care about the girl that came before Rosemary that I simply found myself wondering how she was going to die to properly set up the events of the original.

For a story that should be brimming with intrigue, danger, and the horrors of inventing your own reality, The Wizard of the Kremlin is instead a bloated, tiring recitation of facts that doesn't know how to elevate its dark subject matter.

It's evident Cave tried her best to steer the ship, but the story feels aimless, and moments after things get interesting, Holland cuts to credits, leaving you equally puzzled and burned out.

There is something occasionally charming about Outlaw Posse. Alas, charm can only get you so far when a film resembles more of a scattered work of cosplay than a robust cinematic work.

Mob Cops has an interesting true story at its heart, and a talented central cast to convey it, but there are self-imposed limitations baked into its core. There may have been a great movie here, but it simply doesn't achieve that potential.

Dirty Angels is often too serious and too overtly political for its own good.

There's definite potential in Andy Edwards. He needs to up the camp and spend a little longer at the drawing board, streamlining his vision and considering what he wants to do with his next project. Whatever it ends up being, I look forward to seeing it.

With The Greatest Hits, Benson gives us the film equivalent of an album with a cool cover that masks the inadequate record within.

It all falls apart as there are no personal touches, character specificities, or horror sensibilities that fill in the many gaps of this hollow script.

None of the action scenes have any passion to them and, even worse, they can feel downright contrived. That it then pretends to have something more to say strains credulity.

Even as Butterfield continues to try to bring something resembling gravitas towards the end of the film, it all just peters out. No matter how many quick cuts and bursts of sound it throws at you, everything it goes for falls flat on its back.

It is inorganic, gimmicky, manipulative, and its lessons are simplistic.

If the 1940 Pinocchio showed that any wish your heart desires could come true, this remake shows what happens when your nightmares come to life.