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.

The core concept of Bride versus Groomsmen could have led to an exciting action flick, yet when not even the action scenes work as they should, it’s hard to defend Til Death Do Us Part.

Rather than come away feeling like you’ve watched something truly daring or inventive, it all feels derivative. It is a film that is too mundane to even get mad at.

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.