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.

Boy Kills World comes across as obnoxious, and the viewer already feels exhausted within the first 15 minutes of the film. It's as if the creative team wanted to make a cult movie but completely forgot cult movies have to be fun.

You can tell that everybody on the set of Old Dads was having an absolute blast making this movie. It's just a shame that the end product feels so directionless and bland. The attempts to be offensive fail, the emotional beats are never effective, and despite a handful of good laughs and amusing cameos, it's never that funny.

Paint is an odd attempt to make a comedy while also doing the least amount to make that comedy actually funny.

The 2022 Matilda takes the narrative and world of a child and puts it on an adult’s terms. It completely misunderstands why so many children around the world adore these stories - because they were written for them and not their parents. Stick to the original 1996 movie folks, don’t be the boring witch.

In North Star’s attempt to be sincere and heartfelt, everything feels weirdly prosaic and unduly sentimental. It all makes for an immensely forgettable film.

It is mostly a drag with some potentially sharper small details never coming together to outweigh the dullness at its core. For those who may come to the film wanting to understand more of who Golda was and her role in history via a well-written character study, they’ll only end up departing it with all of those questions still lingering.

I hope that someone else decides to tell the story of Kim's Video again one day, because Kim's Video by Redmon and Sabin is incomplete, and a little too self-obsessed to do such an interesting story justice.

Dear Zoe has its heart in the right place, but its reliance on creating one too many schmaltzy moments for the characters, and trying to be too many things at once, hold it back from being anything noteworthy.

The central problem of Morbius is a lazy and uninspiring script. No weight or depth is given to any character. There’s little humor and when it tries to make a tongue-in-cheek joke, it fails miserably.

Not only does neither part of Rebel Moon work, but The Scargiver is such a downgrade that it could prove difficult for the franchise to bounce back for more.

What was once considered revolutionary or sharp commentary is now so passé and outdated that it makes the film feel like an ancient relic — a bad one.

Where the original remains a work of art that is as entertaining as it is well-made, this remake proves to be nothing more than an empty and thunderously stupid approximation of an action film. Neither thrilling nor tense, it's simply dead on arrival.

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