Too sweet to be sordid and too gross to be taken seriously, Ryan Kruger’s Street Trash makes a mess of its anti-capitalist message.

There’s no snap to the dialogue, no thrill to a majority of the action, and the other characters played by Cooper Hoffman and Lucy Liu (and their relationships to Dolinski) make no lasting impression.

Director Martin Campbell (Casino Royale, The Mask of Zorro) offers some reliably, well, clean hand-to-hand combat without showing us anything we haven’t seen before. Only a mid-film twist and the oddly sympathetic motives of the bad guys distinguish Cleaner from a thousand other movies with basically the same sturdy premise.

It’s no Purple Rain – though Jenna Ortega is a much better onscreen foil for Tesfaye than Apollonia was for Prince – but it at least manages to find a handful of visually stimulating moments amid the vapidity.

Peter Pan’s Neverland Nightmare is a bleak, mean-spirited take on a childhood classic that trades Peter’s sparkle-bright magic for overbearing seriousness and disappointingly straightforward thrills.

Josh Hartnett does a fine job in Fight or Flight’s intensely physical, one-versus-100 lead role, but the movie doesn’t have much to offer beyond 15 minutes of inventive action and 80 minutes of aggressive mediocrity.

Screamboat isn't a good movie, but it can be an entertaining experience if you only care about indulgently bloody kill sequences.

Until Dawn is more disappointing than deadly, leaving all the promise of the horror game behind for a jumble of horror-movie re-creations.

Despite a passionate performance from Colby Minifie and some compelling visuals, The Surrender sidelines its deft exploration of grief for drawn-out, pointless supernatural horror.

It’s morally upstanding but dramatically dull, without any of the allure or excitement that made Armstrong’s Succession series such a smashing success.

The Old Guard 2 is a disappointing sequel that isn’t as fun or engaging as the first film and doesn’t do enough with its face off between Charlize Theron and Uma Thurman.

It’s not without its charms, but its slow, rote genre elements yield no rewards, robbing Echo Valley of its thrills in the process.

Despite a strong performance from Nick Offerman, Sovereign is a film that’s inescapably slight and with little to say with its painfully relevant story of modern extremism.

Though the aesthetics are consistently on point – great camerawork, suspenseful use of shadows and light – its characters and plot lack coherence. Tension builds promisingly in the first half, but by the climax, muddled action and shallow character motivation sap the suspense, and any opportunity for commentary is wasted

Osgood Perkins’ latest dark trip has a powerful Tatiana Maslany performance and cool aesthetics to thank for keeping Keeper from getting completely lost in the woods.

The Astronaut has a game lead in Kate Mara and the decent stagings of a monster mystery, but it winds up being a humdrum offering in a genre usually teeming with imagination and innovation.

Return to Silent Hill isn’t the worst entry in this video game movie series, but it fails to accomplish anything that the source material doesn’t do better.

Shelter ticks all the action boxes for a Jason Statham film, boasting a charismatic supporting cast to ground the conspiratorial stakes with some thrillingly playful fight sequences to boot. But its lackluster script works against the acting calibre of its stars.

There are some funny lines peppered throughout, but more often than not, it feels like the easiest and most simplistic version of this story rather than going for something either truly darkly subversive or hitting the emotional heights it’s going for.

Effectively moody, but disjointed and over-reliant on played-out horror audio gags, Undertone sounds better in concept than it plays on screen.

Exit 8 can feel inspired, but only in fits and starts.

The sequel to Bollywood’s biggest hit is bigger, longer, and just as vicious in its on-screen butchery, but has far less artistry and visceral allure. The continued spy-revenge saga runs a mind-numbing four hours, during which it sheds all semblance of human drama in favor of naked political propaganda that reveals the emperor has no clothes.

In its best moments, Suburbicon is the dark, truly funny examination of 1950s suburbia it wants to be. These moments, however, are all too rare and more often than not the story is just a flat Film Noir tale purporting to expose the evil that lurks all around us.

You won't lose yourself in this haunted house, even though that was supposed to be the whole point. A film about a labyrinth filled with ghosts quickly becomes methodical and familiar, stranding a great cast in an inert supernatural thriller.

It takes extremely familiar plot points and plays them straight, adding nothing new except the premise - a white American joining the Yakuza - which ultimately has very little to do with how the story unfolds. The film might be a functional crime drama but it’s an incredibly unremarkable one.

Baywatch wastes its attractive cast on tired jokes and nothing.

The Babysitter had potential but director McG treats this material like it’s one of the lamer American Pie sequels. The broadness of the humor detracts from the characters and the story and the horror, instead of complementing them.

The cast does the best they can to save the weak material, and it’s interesting to see how the filmmakers are trying to make this off-putting concept work. But it's not funny enough, or even weird enough, to get away with it.

The Aeronauts is a film flawed from its first concept. By blending fact and fiction so freely, Thorne and Harper turned a story of scientific discovery into a muddling romantic adventure that crashes and burns.

Father Figures is a baffling film, one that never seems to ever get a handle on what it is or what it wants to be. It’s one thing to make a movie about characters stuck in arrested development, unsure of where they’re going, but it’s another for the writing and editing to also feel that way. In short, Father Figures is just a straight-up mess.

The most frustrating thing about Ritchie's take on King Arthur is that it has all the necessary elements to be a great version of the story, but rather than giving them to the audience as such, they are put into a blender and thoroughly mixed.

Despite the talents and charisma of its voice cast, The Emoji Movie fails to deliver on any of its intended messages or themes, with a final act that goes back on everything it had originally been trying to say.

It’s a straightforward retelling with a confusing design philosophy, disappointing action sequences, weak storytelling and a cast which clearly deserved better material.

Mile 22 is a straight-to-video action movie that got the big budget treatment, and not in the good, cheesy, fun way. It’s an undercooked story with characters who don’t know how to express themselves without yelling, and it’s full of laughable plot points.

Although Taraji P. Henson is always a delight, a rote plot, bland action, and a serious lack of interpersonal chemistry hamstrings any potential Proud Mary might have at being fun.

Jigsaw barely feels like a part of the Saw franchise. It has deathtraps, but takes no pleasure in presenting them. It ignores most of the ongoing storyline. If it wasn’t part of the official franchise it would play like a knockoff.

An unremarkable entry in a cult favorite franchise, Jeepers Creepers 3 offers fans little to get excited about. While the monster still rules its slice of country highway and the skies above it, the rest of the film crashes in the cornfields.

Cats’ special effects render director Tom Hooper’s star-studded adaptation of the Broadway classic a lifeless disaster, though a few of its more charismatic cast members, namely Judi Dench and Idris Elba, manage to get a few licks in to add an alluring, ironic camp value.

A great cast including Henry Cavill and Ben Kingsley is wasted in the predictable serial killer thriller Night Hunter.

Rambo: Last Blood captures everything that's gone wrong with this action franchise over the years.

There's not much to marvel at in Netflix's Unicorn Store, Brie Larson's astounding misfire of a directorial debut.

The lazy gags, wasted supporting cast and unfocused writing make the film an unfunny chore, which evokes but doesn't come close to their earlier comedic outings.

Blumhouse’s Truth or Dare is what happens when high concepts crash. The audience is here to watch people play a deadly game of Truth or Dare, and yet the film’s truths and dares are unremarkable, and the players are mostly boring.

Only Kaya Scodelario rises above the mess, working hard to try and craft an earnest and accomplished heroine that is by far too interesting for the rest of the boring dolts in the story.

Halloween 5 is a poor film by itself; the fact that it's filled with huge dangling plot threads that were given a bad pay off in the next sequel simply cements its badness.

It looks drab and feels like it was made by people who want to leave its magical premise behind, even though the series refuses to have anything resembling grown-up politics or perspectives.

The Last Knight is the loudest and most explosively dull installment yet.

Indiana Jones and the Dial of Destiny fails to recapture Spielberg’s magic. With uninspired action and conflicting themes and character motivations, it’s proof that some things should just be allowed to end.

Diary of a Wimpy Kid: The Long Haul is yet another disappointing attempt by Hollywood to deliver an adaptation worthy of its source material.

Tom Hardy’s committed performance can’t overcome a painful script and indecisive direction, resulting in a film with a personality that’s as split as its titular character. There are occasional moments of brilliance in the dynamic between Eddie and Venom that give a hint of what the film could have been in steadier hands, but ultimately, that only makes the finished product a more frustrating viewing experience.

Wish Upon is the successor to the Final Destination franchise that no one asked for.

It’s neither funny nor exciting enough to obscure what a miasma of unfocused randomness it is, even though the cast is clearly trying to make something out of all this half-baked material.

There is a good story to further the violent adventures of Snake along; this is far from it. There are awesome, in-joke-with-your-friends guilty pleasures, and then there's Escape From L.A..

Rememory somehow managed to attract Peter Dinklage, Julia Ormond, and other established performers, and yet it completely lets them down.

Hellboy is a thin, clumsy, and charmless attempt at rebooting a beloved franchise. It's populated by forgettable characters motivated by confusing stakes, cheaply executed visuals, and distracting editing. Somewhere, a finger on a Hellboy fan's monkey's paw is curling up -- sure, HB might finally be back in the spotlight, but he definitely would have been better off left alone.

Ultimately, A Shot in the Dark is not superior to The Pink Panther, as many have suggested, but a somewhat predictably derivative sequel that maintains its predecessor's form but not substance.

As a whole the film was funny, but the lack of a living lead, led Trail to being more about the editing than the story.

Kings' fragmented treatment fails in delivering a compelling story. It also lacks the depth and clarity needed to convey a solid message, which one can assume was the purpose given the liberal use of certain politically charged images and sound bites. The potential was there for something grand though.

Even with a strong cast led by Clive Owen and Amanda Seyfried, Netflix's Anon struggles to tell an engaging story.

A formulaic and depressing motion picture that takes meaningful characters and strips them of their reason to exist.

There’s nothing fresh, exciting, or particularly unique about Nicolas Pesce’s take on The Grudge. His passion for character-focused drama fails to spark in a barrage of scenes that feel like tedious outtakes from Lifetime movies.

A lesser installment in the series.

The problem is – the film plays more like a brainstorm exercise than a feature length film. There are gobs of great ideas here, but none of them connect in the way fans likely wanted.

This belated sequel lacks the wit and charm of its predecessor, resulting in a po-faced action flick that has "straight-to-DVD" written all over it.

The last thing a filmmaker wants to hear about their horror movie is that it was boring. Unfortunately, that word best describes Malevolent. Void of scares, its few engaging moments early on – and Celia Imrie’s acting – just aren’t enough to help Malevolent rise above its stilted performances and nonthreatening ghosts.

MiB: International tries to invoke the original, but fails to match its key achievements: it isn’t funny or exciting.

Despite some terrific race sequences, which Corman shot beautifully, the film, itself, is just a total bore.

What you don't expect is for the monster to look like (and be as harmless as) a hermit crab on steroids.

The movie doesn’t end up going anywhere and serves as little more than an excuse to get the movie’s stars into dapper suits and flat caps.

This extremely generic plotline feels very underwritten, almost as if it was one of many episodes of a Witch Mountain TV series rather than a three-years in the making sequel to a successful children's sci-fi adventure film.

Blumhouse’s theatrical adaptation of the TV classic Fantasy Island never quite works as a horror film, a comedy, or a melodrama despite its attempts at being all three. It works marginally better as a mystery but by that point, you’re not as invested in the story’s outcome or its generic protagonists to muster much of a reaction.

The Matrix Resurrections is a bunch of really good ideas stacked together to make a bad — and sometimes ugly — film.

The made-for-TV feel of the production, bland characters and familiar story leads to a pretty forgettable outing.

Escape Room: Tournament of Champions twists the puzzle premise of its hit predecessor into an unsolvable slog.

Simon Pegg and Lily Collins act the hell out of a script with a fun set-up and a lazy payoff.

Disney's Artemis Fowl is an empty science fantasy tale with forgettable characters and an uninspired story.

The subpar tech-horror film Come Play is as boring as it is painfully outdated.

Perhaps a slightly more engaging, focused narrative would have saved the film. As it stands, we're treated to 82 minutes of confused storytelling that spends the entire first half torturing our two principal leads in the most bizarre ways imaginable. Perhaps Corman fans should skip the first half of the film and simply watch the actual "Deathsport" sequences instead. The film will likely play much better as a 40-minute short.

Even without the content of 2020 making the film feel even more unpalatable, Netflix's The Last Days of American Crime is a distractingly dull dystopian thriller with drab (and/or extraneous) characters and a squandered premise.

Deep Water aspires to be a boundary-pushing erotic thriller but is stuck treading water in the kiddie pool.

Grimy, "topical" pandemic adventure Songbird is pretty much D.O.A. It struggles to find life in its secluded settings while also, overall, just leaving a bad taste in your mouth. The love story never catches hold, the ensemble never gels, and the contrivances pile up beyond all repair.

Cannibal Women In The Avocado Jungle Of Death would be one of those B-movies that has a message to get across, and it does so with a few actors and a script that's surprisingly well thought out, if to a cornball degree.

Melissa McCarthy and Octavia Spencer have sparkling screen presence, but can’t thrive under Ben Falcone’s utter lack of vision. Thunder Force doesn’t work as a superhero movie or a buddy comedy, as it refuses to revel in the big moments of either.

Curse you and your vile coma-inducing powers, Jennifer 8!

Not even John Boyega’s solid performance can salvage Naked Singularity, a thinly sketched, disappointingly generic crime thriller.

Jennifer Lopez and Josh Duhamel try their best with an interesting premise that’s squandered by script with barely any laughs, gratuitous violence and unconvincing action.

Sylvester Stallone doesn’t seem thrilled to be playing a superhero in Samaritan, a hodgepodge of non-ideas borrowed from better movies.

The cast is wasted in such lame roles, and the horror story’s uncertain tone falls far short of intriguing. So, despite one supremely frightening moment, this movie is not scary. It just stinks.

A low-energy comedy remade from a French farce, The Valet tries (and fails) to inject an absurd story of stardom and fake romance with added commentary and sentiment. Eugenio Derbez and Samara Weaving lead a more than capable cast, but they can’t overcome the film’s sluggish length and disconnected story.

It's a bizarre and overly rambunctious ride that forsakes cleverness for Billboard acts and dizzying set pieces.

The Starling contains themes of grief and guilt that are worth exploration, but finds itself unable to delve deep into these elements, instead relying on bad bird effects and a needlessly quirky and eccentric tone to gloss over most of the uncomfortable elements.

Hypnotic, starring Ben Affleck, is a sci-fi thriller by Robert Rodriguez with few hints of sci-fi, thrills, or Robert Rodriguez.

That's Entertainment won't enrich your mind, won't move you emotionally (except for maybe Kelly's classic rain sequence, but who hasn't seen that one already?) and unless you're already a fan of the musicals, probably won't entertain you much. And if you are a fan of those classics, you're better off getting them individually.

A film about so many different things that it ends up about none of them, Aaron Sorkin’s Being the Ricardos is visually inert, and features an emotionally stifled performance from Nicole Kidman as the lively Lucille Ball. Javier Bardem brings energy to Desi Arnaz, but it isn’t enough to pick the disjointed pieces up off the floor.

It's rarely funny when it's supposed to be, and often unintentionally hilarious when it's not. But to be fair, that's not all de Sauza's fault. Some of the dialogue might have been funny had the punchlines not been botched by Van Damme's awkward accent and flat delivery.

The Twin wastes its desolate location, talented cast, and strong opening in a meandering story that hinges on a last act reveal that doesn’t pay off.

Meg 2: The Trench has all the excitement of fishing solo for two hours without a single bite. Wheatley is a shell of himself behind the camera, devoid of personality and originality.

Umma isn’t scary, but the themes behind it are terrifying as it deals with generational trauma and guilt. Though the cultural references run deep, it’s overstuffed with symbolic imagery that is never fully explained. Though Oh and Stewart give solid performances, the tone and tension of the story ends up being choppy and underwhelming.