Sliver is a godawful movie - not worth a wank, much less a watch.

Vacation Friends 2 adds a few fresh elements to its too-soon sequelizing, but they can’t change this comedy’s listless, laugh-light trajectory.

The fact that V/H/S Viral frequently substitutes laughs for scares means that the film will disappoint hardcore fright fans. But if you like your horror mixed with laughs, this anthology threequel is a blast.

Biehn, in what would unfortunately be the last of his pure good guy roles, shines in the type of role he does best: a hardened and reluctant hero who is bound by honor to do right no matter what the cost.

America: The Motion Picture is like Drunk History if the history were not only drunk but also on nitrous. Channing Tatum once again proves he's a comedy force to be reckoned with, backed by a stellar cast of capable and cunning joke spitters.

The Curse of Bridge Hollow is a mundane introduction to horror, with a bit of charm sprinkled in for good measure.

Role Play wants to be a star-driven caper merging complicated relationship dynamics with exciting espionage action. But despite a few brief signs of life, both sides of the film are woefully unconvincing, as are its stars. Kaley Cuoco goes way too broad, David Oyelowo looks pained, and the whole thing strains to imitate better movies.

Nostalgia and new thrills make an interesting marriage in an imperfect but otherwise exciting Jurassic World Dominion.

Sandler and Aniston's chemistry elevates a breezy, bumpy overseas caper.

Glenn Close and Amy Adams shine in Ron Howard's new, rather unfocused film about abuse, poverty, and addiction.

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

Point Blank's production bones are solid and the action itself is clear and capable, but the story is woefully past its expiration date and the attempt to tether it back to the types of "action movies we grew up with" falls flat.

Baywatch wastes its attractive cast on tired jokes and nothing.

The movie is not Oscar caliber by any means. The acting is spare and without much passion.. Sure the movie is worth one or two stars at best. But it's a hell of a ride nonetheless.

The Devil Conspiracy is a high-concept religious action flick with horror influences that sells its ambitions short but still entertains despite itself.

Brad Peyton oversees a futuristic action thriller that frequently plays like a clone of other cautionary tales about AI – but those movies, shows, games, and books don’t have Peyton’s secret weapon: Jennifer Lopez. She’s able to command the screen, bicker with software programs, and sell a convincing heroine’s arc from behind a mech-suit’s windshield.

The Michelle Yeoh fronted spin-off movie Section 31 is 100 minutes of generic schlock containing only trace elements of Star Trek.

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.

In the Blink of an Eye is a disaster of its own making, living in the shadow of far better sci-fi films of old, and never doing anything interesting with any of the ideas it throws out.

Three A-listers globetrot and double-cross each other in Red Notice, a derivative action film that should be much smarter and sexier than it ends up being.

The Cloverfield Paradox is a paradox in itself. Split between trying to be a standalone sci-fi space horror and a key linking point in the Cloverfield mythos, the film never truly succeeds at either.

The Super Mario Galaxy Movie ditches an engaging story in favor of a pipe-bursting amount of Easter eggs, but that’s not an all-together bad thing.

Demonic promises a fun and fascinating premise, but its scattered pieces barely coalesce.

Addison Rae and Tanner Buchanan are magnetic leads in this reboot that pays homage to the first film, but fully stands on its own. It manages to cut through modern high school b.s. while transforming two posers into presentable, likable people.

My Spy: The Eternal City is tailor-made for an awkward family movie night: too violent and suggestive for elementary schoolers, too dumb for teenagers, and too confusingly joke-free for adults expecting a comedy.

Not as annoying as it looks, but hardly a stirring or imaginative entertainment, Sherlock Gnomes has a comfortable home right in the middle of the road.

There are moments in The Unholy that strive for shocking, even sacrilegious. But Spiliotopoulos lacks either the imagination or the guts to create something truly soul-rattling.

Space Jam: A New Legacy enters the 21st century with LeBron James, impressive visuals, more personal stakes, and a fantastic villain in Don Cheadle. Unfortunately, the movie is too concerned with showcasing Warner Bros.’ biggest franchises that Bugs Bunny and Friends get sidelined in their own movie.

The Nut Job 2 is one of those rare examples in which the sequel is technically better than the original, but it’s still not a compliment.

Natalie Portman excels in Lucy in the Sky, an interesting character study that suffers when mixing fact and fiction.

Action Point contains some crazy stunts and some funny-ish gross-out humor, but is ultimately a pale echo of the dark destruction Johnny Knoxville became famous for.

Willis and Parker are fine in their respective roles, but neither character is given much spark. Willis sulks for most of the picture, grimacing at his enemies and drinking his way through scenes.

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

Tarot seems perpetually uncertain about whether it should play its thinly conceived premise for laughs, or actually pursue real scares. It winds up with neither, stumbling around in the dark and turning its small ensemble into a crude means of timekeeping for its surprisingly sluggish 90-minute runtime.

Unlike The Fly, You probably won't remember much of this after seeing it, and when a movie boasts as being no better but equal to the original, you can be pretty sure it isn't.

All the genre elements play like an afterthought, and that's frustrating because the rest of the movie isn't quite spry enough to stay interesting without action, adventure, or at least little more weirdness.

Probably the only terrifying thing about this ludicrous excuse for a horror film – besides the fact that it's from the director of The Exorcist – is that Friedkin doesn't seem to realize it's a dreadful picture.

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.

Coffee & Kareem keeps it simple, short, and to the (ultra) violent point as a raunchy cop comedy with clever jokes, zany action, and fun chemistry between leads Ed Helms and young Terrence Little Gardenhigh. It's a small cast but everyone in it is pretty funny, and the director easily knows how to craft a compelling mismatched partner scenario.

Knights of the Zodiac fails to inspire enough excitement to meet the prospect of future sequels with its lackluster visual effects and rather clunky storytelling.

Mute tries to tell a transformative sci-fi story but struggles to find its footing with a less than stellar hero.

I'm not going to lie to you here, this movie is a steaming pile of you-know-what. The acting is horrendous, the story is the most cookie-cutter clone of every movie after Star Wars as you can get, and the effects are downright laughable. Even an easy effect such as a laser blast looks bad here.

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.

Despite the inherent ugliness of watching a rich kid diabolically dig into a mom and dad who are just trying to save their home for the sake of their own children, Home Sweet Home Alone has some decent wit and heart to it. Archie Yates is good as the new precocious protector of his lair, but it's Rob Delaney and Ellie Kemper who anchor the film and give it something resembling a soul.

Birth of the Dragon is not the Bruce Lee biopic you’ve been waiting for, as strong performances and martial arts action by Philip Ng and Xia Yu are wasted on a movie that had too little faith in the real story.

Matthew Vaughn’s latest directorial effort doesn’t traffic in the same edgelord button-pushing as his Kingsman series, but as that relief fades, it becomes clear how much Argylle is recycling ideas and imagery from those (and other, better) movies. Bryce Dallas Howard and Sam Rockwell make an endearing pair, but they’re committed to an occasionally loony adventure that lacks the grace necessary to match its stars.

Ultimately, it's bland, not bold, and achingly absent of enchantment.

The Kitchen has a good cast and strong premise, but it never quite finds its footing and falls into gangster cliches.

Well written, well made, well acted, St. Elmo's Fire is a quintessential film about the strange middleground between youth and adulthood.

Super Mario Bros. has a solid cast of characters who are thrust into a psychedelic smattering of scenes hastily glued together in nearly offensively stupid ways, but it’s also strangely ambitious at times.

Morbius is unspectacular in ways that waste the potential of what could be an intriguing hybrid of sinister horror and superhero thrills.

It achieved a cult following for its uncompromising brutality, but it never really earned the critical or financial success many thought it deserved.

The Turning damns itself with good ideas turned bad and a flat-out ugly execution. Its talented cast can’t save it from cheap scares, poorly edited set-pieces, and a bad twist that leaves a worse taste in your mouth.

Scream 7 packs in plenty of satisfying slasher action, and may even bring some lapsed fans back into the fold by focusing down the scope of that action after Scream 6, but the new ideas it does bring to the table are either too thin to fully explore or ill-advised enough to detract from the success the movie does find in playing the hits, the deep cuts, and the killer tracks.

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.

The second part of Zack Snyder's Rebel Moon space opera, The Scargiver, delivers a half-baked conclusion to a well-trodden story with flimsy character studies and lacklustre action.

“Random” aptly summarizes Harold and the Purple Crayon, with its patchy subplots, distracting amount of dialogue added after filming was wrapped, and geographic cluelessness.

The Dark Tower is a thoroughly average take on some truly incredible source material. While the fantastic leads do the best with what they’re given, it’s ultimately not enough to compensate for a lack of time spent building characters and their motivations in the script.

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

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.

[A] one-note, flat comedy.

Jack Black will be enough to lure both kids and parents to the holiday comedy Dear Santa. But Black can’t carry the whole thing himself, and he’s eventually subdued by some deeply questionable story choices.

Directed by the team of Mark Neveldine and Brian Taylor, the new film brings all the cartoonish insanity of the pair's Crank saga to the -- let's face it -- cartoonishly insane concept of the Ghost Rider, a burning skeleton in leather who rides an equally fiery motorcycle. It's a match made in, er, hell.

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.

The movie surrounds its mismatched stars with a whole lot of shockingly inconsistent special effects, preaching a sentimental yuletide message even as it looks like the height of soulless commercialization.

Danielle Harris deserves a lot of credit for her work in Halloween 4. It's hard to find truly believable child actors in general, and in the realm of a film like this, it's easy to expect the worst, yet she is very credible and relatable and took an idea that probably had some fans cringing -- a little girl as the hero of a Halloween sequel! -- and made it work.

A headache-inducing screenlife film that straps Chris Pratt to a chair and holds its audience hostage too, Mercy squanders its potential as a sci-fi thriller about the dangers of entwining justice and artificial intelligence. The result plays less like the tongue-in-cheek mystery-thriller director Timur Bekmambetov seems to be aiming for, and more like an advertisement to tech investors, making the movie chilling in unintended ways.

Kevin Hart and Woody Harrelson have solid goofball vs. grump chemistry in an entertaining action-comedy.

Imaginary nearly perfects its so-bad-it’s-good shtick. This is not a good movie, in the traditional, artistic sense – but it is a total joy to watch if you’re willing to buy into its particular blend of juvenile scares and stupid self-seriousness.

Texas Chainsaw Massacre is a sloppy and gratuitous killing spree with standout deaths but a poorly written story that ruins the experience.

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.

With Private Resort, I guarantee you'll be laughing well after it ends - and if you do it right, your chuckles will probably have precious little to do with the film itself.

There are moments where it reaches out for horror and produces something interesting and distinct from Hollywood’s other blockbusters, but those moments are buried beneath unremarkable and, by the end, tedious action sequences.

The Iron Mask is a mess of cultural ideas that not even Jackie Chan or Arnold Schwarzenegger can make work.

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.

But as a comedy, Love Hurts is pretty stale; when not trotting out dopey crime-flick caricatures, it’s simply leaning on the supposed hilarity of a sunny house hunter with a secret talent for breaking bones. You’ve seen many versions of this premise, and better ones, too.

This big-screen take on the indie-horror sensation has too much plot and not enough of the game's primal security-cam thrills.

No, it's not the final movie in the series, but it's the end of a particular era for Jason, and it's a good way to go out for the hockey masked killer.

The movie is frantic in fits and starts, but still remarkably tedious for such a slapstick comedy. It expends an astounding amount of time and energy setting up both its jokes and physical comedy routines, many of which are tired, watered-down iterations of material done better by Sellers.

Ranbir Kapoor is deeply committed to his brash and ugly protagonist, but in spite of the movie’s explosive action, director Sandeep Reddy Vanga seems more preoccupied with provoking outrage than with telling a coherent story.

Taylor Schilling does her best here to keep things alive and afloat but The Titan insists on languishing in unremarkable material way too long.

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.

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.

Everything about this "movie" is a joke. What really pisses us off is the fact that: a) Ben is now white (yes, white!); b) there are people doing drugs; and c) there's a sex scene! What in the hell? Not making things any better is a simply ridiculous ending that just about abandons all hope for the movie's success.

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.

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.

Despite solid performances from Zac Efron and Ryan Kiera Armstrong, Firestarter feels stifled in story and presentation.

Kate Siegel does her best to elevate a simplistic thriller that follows all the same beats you're accustomed to.

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

Tom and Jerry hit the big screen for a hybrid live-action romp that too often feels like it's not even their movie.

Game Over, Man! is a sloppy production, with screaming and bullying used as a placeholder for actual jokes. The characters are such enormous jerks that they probably don’t deserve to succeed, at anything, so it’s hard to want to follow their adventures through an entire film.

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

There's not much to praise here. The script is beyond parody, the jokes fall flat, and it arguably wastes some of Hollywood's biggest names. But if you want to see lots of people getting blown up in some very pretty locations while Salma Hayek and Samuel L Jackson make sweet (gross) love while torturing Ryan Reynolds, then this one's for you.

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.

Fifty Shades Freed concludes the trilogy as it began, with a romance you can’t believe in, endless montages of affluence, lousy dialogue, weak plotting, and - admittedly - a heck of a lot of sex.

Despite a great ensemble cast, Zack Snyder's space opera is let down by a derivative patchwork script, mediocre action sequences and a superficial story that fails to live up to its expansive promise.

Maybe if it looked like Edwards cared about the movie it might have been something more. Even so, without Clouseau, what The Curse of the Pink Panther brings us is staged prop humor, and a number of indignities courtesy of the make-up and wardrobe departments.

A movie that’ll just about keep young viewers’ attention, Smurfs is part Rihanna jukebox musical, and part flimsy attempt to give the little blue critters an identity that’ll stick.