Either the twist needed to come earlier, or the filmmakers needed to do a better job of making sure it provided enough of a jolt to make the previous, largely generic 85 minutes worth the effort. As it stands, Protector's twist ending feels adrift in a movie that's not compelling enough to support it.

At the center of this mess sits a set of performances that are, beyond some writing oddities, pretty good.

Instead of exploring a twisted version of a magical realm, this pseudo-trip to Neverland keeps things stuck in the real world that the kids of these stories are usually trying to escape.

Between picture-in-picture viewers, pop-up ads, reality posing as unreality, and a seconds-long attention span, Baby Invasion is a Reddit thread vision board with little to offer.

The Beast Within, a human tragedy awkwardly disguised in wolf's clothing, stumbles badly.

This Strangers trilogy was an ambitious concept that quickly became a disastrous failure that completely misunderstood this series to begin with. Even after all this build-up, this final chapter fizzles out to an underwhelming conclusion of a journey that wasn’t worth taking to begin with.

Amelia's Children is a horror film that has moments of unintentional humor, but is ultimately dull rather than some sort of clever dark comedy.

The dialogue is cringy even by Universal Soldier sequel standards, performances more wooden than Pinocchio, and combat showpieces are a shambles of digital effects that spike not even a tingle of bruised and bloodied excitement.

A solid performance from Jason Patric does give the film a little bit of extra mileage, but weak action and an utter waste of Sylvester Stallone's talents as both an actor and action star bog the film down in too many issues to count.

It certainly is a throwback, but it not only stops far short of being a comedy touchdown, it barely feels like it brings anything new to the field.

Glenrothan is cloying at times, but more often, irritating in its presentation of a story we’ve seen so many times before, done poorly.

A messy, confusing and thoroughly unengaging experiment, with the kernel of a good idea underneath.

Unable to make his ideal documentary about the Zodiac Killer due to a rights issue, Shackleton breaks down the movie he might have made in painful detail that reveals a shocking lack of self-awareness, systematically dismantling the genre without an ounce of introspection.

Krazy House is "krazy" for all the wrong reasons.

I imagine there are a select few out there whose taste in comedy earnestly leans towards the likes of dadaism, and they might find actual humor in this almost anti-comedic story. There are perhaps a few more who will get the odd sensible chuckle out of the movie and forget it ever existed within a month.

Parthenope is a decades-spanning slice-of-life movie that has no interest in diving into the complexities of its protagonist.

As it stands, Vampires of the Velvet Lounge is exactly what it seems to be: a messy, mildly entertaining vampire movie that works best when you’re only half watching it.

At a different time, I might have been more inclined to entertain Reijn's proposition seriously. But it's just her luck that the great Catherine Breillat, who has devoted her illustrious career to investigating these taboos, dropped a far superior film on the same subject matter, Last Summer, just a few months prior, beating Reijn to the finish line.

While the film does make an admirable effort to focus on Neeson's action hero as a true character rather than a mere blunt instrument for fight scenes, but thanks to an overly cliché screenplay, the movie will likely be another forgettable action film in Neeson's filmography.

The characters somehow behave both flatly and erratically, driving a cliché plot that manages to be both overly simplistic and confusing. Take care of your skin — and sanity — by sitting this one out.

Set to be released alongside an accompanying documentary and book, this film feels more like a way to peddle Christianity under the guise of good faith, made worse by confusing creative choices and a painful lack of self-awareness.

It's an oddly cobbled-together hodgepodge of ideas and little real inspiration that could have graduated to fun schlock with a little more love.

There's a sweetness buried deep inside The Family Plan, but it gets completely smothered beneath all the jarring and poorly cut action and weird subplots that lead nowhere. Outside a few chuckles and a likable cast, there's nothing that makes it stand out.

Night Swim is a missed opportunity of epic proportions, and it’s yet another in a streak of Blumhouse projects failing to bring anything new to the horror genre.

There’s a fascinating movie to be made about this period and these characters, but Ott's telling is simply not up to the task.

There's really nothing here that should interest anyone outside of Cage and Western completionists. The Old Way just feels too formulaic to leave any sort of impact.

The Apology is a dreadful story told horribly. It fails to understand its own protagonist, underestimates character development, and ignores the rules it establishes for itself.

Freelance, like Cena’s Mason, wants to be something more, but maybe it should’ve settled for something a little more simplistic and straightforward and found the joy in that.