Dominion isn’t just the worst film in this frequently disappointing franchise, it’s also one of the worst major blockbusters in recent memory.

The movie undermines its own message by silencing one of its most important characters and choosing instead to give the spotlight to the ones that bring nothing new to the table.

It feels stuck in a strange, bland limbo, unsure of what it wants to lean into and truly be. For a movie all about identities, this film lacks one.

It is the worst thing an action film can possibly be: forgettable.

The occasional moment of machine gun motorcycle jousting aside, it is a largely dull and dreary experience that never feels like it is ever anything more than a hollow mimicry of far better action works of the past.

With weak leads and shallow characters, Fall fails the audience by its inability to present human beings we can care about.

Without the foundation of solid writing for Pine to direct from, everything ends up being lackluster and takes away from that aspect, no matter how strong the cast is and how cartoonish the situations are.

Director David Jařab fails to capture the same enthralling energy of Conrad's original story, resulting in an experimental film that too often misses the mark.

There are moments where it feels like it could have become a more gleefully mean-spirited horror ride by really sinking its teeth into the story and actually biting down, but it remains hamstrung by the rating as well as a lack of creativity.

The humor ultimately feels lazy, and while the original film has had some mighty staying power, this new installment feels dead on arrival.

What a shame even a master filmmaker like John Woo couldn’t at least partially liven up a derivative piece of action cinema like Silent Night.

Though there are movies that are worse than 65, it is part of a select few that manage to utterly and completely squander their own potential.

There's an interesting story in here, and a far better Keaton performance within it too, but it is the kind of thriller that lacks the tension and excitement that it needed.

Alienoid is a movie that wants to be everything and satisfy everyone, and when you try to satisfy everyone, you invariably end up satisfying no one.

Where the Crawdads Sing is a weirdly uncomfortable movie, on many different levels. If you haven’t read the book I can’t imagine you would want to see this movie; if you have read the book, I say proceed with great caution.

As well-intentioned as the new Children of the Corn might be, it misses the mark by mixing a confusing ecological message with bland scares, forgetting what makes King’s story so enticing in the first place.

More often than not, we can ignore the message if we’d like and just enjoy a scary movie. Prey for the Devil, however, seems to have been developed as deliberate propaganda.

The cast as a whole never gels together like you'd want in a big team-based spy film like this, maybe because they spend so much time in separate locations talking to each other through earpieces.

The problem just keeps coming back to Harlow. Not only is he just out of his depth in hitting the necessary comedic notes, but the hollowness of his performance also becomes impossible to overlook when his character goes through a rough patch and must find redemption.

In Trigger Warning, there's nowhere for Alba to go — no notable battles to fight, nor an interesting war to win. And what we're left with is just another disposable action movie, dropped indiscriminately on a streaming service to sit among all the others.

Despite one electric scene that makes the rest of the film feel more risible, Modi, Three Days on the Wing of Madness is a plodding, pretentious mess that is easily one of the worst productions of the year.

Please don’t misinterpret this scathing review as an encouraging push to check out what could be a ridiculously flawed watch with friends. Agent Recon is unwatchable and doesn’t deserve your patronage.

The creatively (and morally) bankrupt and downright offensive biopic glosses over Amy Winehouse’s complicated, and ultimately, tragic life to shine a more flattering light on her father and ex-husband, distorting the real-life events in her life to tell its own narrative.

At the end of it all, it’s unclear if Lumina is anti-aliens, anti-government, or just anti-cinema. If you go into this one expecting genuine thrills and a compelling alien abduction story, you will likely leave the theater confused, disappointed, and wishing you’d spent the past two hours doing … quite literally anything else.

Blackout is a werewolf movie with plenty of passion behind it that still doesn't pack the punch it needs to.

Imaginary is a mess of a horror film, with poor narrative choices, obvious twists, and clichéd characters.

At the end of the journey, Lift ends up as a double disappointment. It doesn’t work as a comedy, it doesn’t work as an action film, and its claim to the heist movie subgenre is tenuous at best.

If you have been eagerly looking for a mash-up of Parasite and Fresh that fundamentally misunderstands why both films resonated with audiences, by catering to the deeply ingrained xenophobia of the upper class, then Delicious is the film for you.