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.

Full Phil accomplishes the rare task of making the viewer less and less sympathetic to these two exhausting characters.

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.

Emerald Fennell's film is merely telling a shallow story about two people overcoming all obstacles to fall in love — not necessarily awful on paper, but it's an adaptation that feels like a 14-year-old skimmed the book and jumped to her own conclusions without any true understanding of the novel.

It’s non-stop drama, and the way the story plays out, it’s like Vance took every crazy episode from his life and played them back-to-back without pausing for a single pleasant memory or character defined beyond a single dimension.

Ultimately, Skillhouse boils down to a bunch of stuff that just happens to characters we don't care about, who make choices that don't make sense for reasons that aren't well grounded, in a place that's poorly shot, in order to say things that have been better said elsewhere.

Ultimately, History of Evil lacks the teeth and the scares to be a truly effective horror movie, acting more as a mildly infuriating thriller.

Breathe is empty bluster and nothing more. It’s like a vacuum of where a movie should be, sucking all the air out of the room until nothing is left.

The Strangers: Chapter 2 is a true disaster, one of the worst horror films of the year, and it’s a damn shame this is what this franchise has come to.

With vaguely established threats and storylines, Megamind vs. The Doom Syndicate is the movie equivalent of meeting a friend you missed for many years only to realize that the encounter didn’t really need to happen.

The documentary doesn’t seem interested in expanding the conversation, and getting to the roots of modern society’s issues.

Me Time just goes through the motions of a wacky comedy without any of the actually funny components.

It can be said the film does indeed provide a full summary of Foreman’s recounting of the major events in his life where he comes out looking pretty great, but that hardly makes for a compelling work of cinema.

While Ridley gives her all to a more thoughtful and nuanced performance, The Marsh King's Daughter remains a film on a directionless journey to nowhere. Even with the commitment of its lead, it just gets lost in the woods before falling flat on its face.