The documentary feels like something that could have been deeply engrossing had the filmmaker selected an alternate narrative structure. He needed to deliver more than surface without substance.

Ice Road: Vengeance hits all the beats of a standard action movie as subtly as an out-of-control vehicle tumbles down a precipitous incline before crashing and bursting into flames. There’s nothing fun or exciting or even interesting here.

Elio is a complete misfire—an ambitious premise that never takes off.

While Florence Pugh and David Harbour try to inject some soul into the chaos, the film proves that no amount of punchlines can save a story that forgot its superpower. Sometimes you don’t need a group hug—you need a good old-fashioned throwdown.

A Minecraft Movie is not funny, exciting, or clever.

Every modification fails to improve the tale, and the whimsy and wonder of fairy tales are missing. It does not honor the original but shuns it instead.

The problem with Brave New World falls squarely on the writing and the story.

Love Hurts is a prime example of what happens when a film spreads itself too thin trying to juggle multiple genres—it drops all the balls. Ultimately, it’s a forgettable attempt at blending action and romance, proving once again that genre mashups rarely deliver a knockout.

The acting is sub-par, with Selena Gomez delivering the weakest performance. I don’t know Spanish, but even I can tell she struggles to sound like it’s her first language. As Emilia, Karla Sofía Gascón is stiff as a board and can’t sing. Zoe Saldaña is the only one putting an effort in, but even she can’t make horrible lyrics sound authentic.

It’s a given that Julia Garner can play fear, but Whannel barely taps into her skills.

As whacky as the characters are and as tense as the setting is made to be, the movie drags.

Kraven The Hunter doesn’t entertain. The only thing it does right is release the hostages after two hours.

Nosferatu is a failure on almost every level.

Dear Lord, this movie didn’t need to be made. It is profoundly awful. The foreshadowing is relentless. Sorry, Barry Jenkins just can’t direct animation.

Blitz disappoints on nearly every level.

It drags through a slow love story, lacks the original’s dark, gritty atmosphere, and misses the intensity that made the 1994 film a cult classic. Even the crow legend feels like an afterthought, leaving this remake bland and forgettable.

Unfrosted is dumb. Not only is it dumb, it’s stupid. It commits the sin of being a comedy that thinks its funny. The film goes wrong in so many ways.

There is certainly an issue here worth isolating and examining: that of veterans finding their oaths at odds with the state. How the movie considers this theme is dangerous and confusing. It’s an out-of-touch and partisan documentary, wasting its talents to stir mud.

Who wants to be subjected to water torture for 2 hours?

For a film meant to be a milestone for 100 years of the Walt Disney Company, Wish is a monumental failure.

Ultimately, The Cow Who Sang a Song Into the Future represents one of the sternest examples of sacrificing the heart of a film for the demands of a specific message. Every genuinely compelling moment is forced to become an object of one-dimensional dogma. And all of the film’s latent wonder is sacrificed at the altar of hollow reductionism.

Fangs Out is rough from start to finish.

I’m not suggesting Cherry should have a laugh track, because it is not funny at all, despite several attempts at humor.

It makes the mistake of developing the characters less in order to increase the chance of symbolism more.

Banks ends up with a glossy Hollywood flick disguised as a straight-to-VOD grindhouse title. It feels dishonest, forced, and overstuffed.

This “horror” (used as loosely as possible) debut will only frighten people who get startled by their own shadows every day, as it’s just a slog into nothingness.

The Friendship Game is deplorable from beginning to end. Fans of Peyton List may get a small amount of enjoyment, as the actor is good. Unfortunately, she’s the only worthwhile part of the film, as the direction, editing, and cinematography are woefully incompetent.

Behind the pseudo-intellectual curtain of Philippe’s pseudo-documentary, you will not find a wizard. You will find nothing at all.