Pet Sematary: Bloodlines tastes a bit better than a nothingburger, but lacks seasoning that you’d hope for from something tied to Stephen King’s bibliography.

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.

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

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.

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

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.

It’s a sincere, and sincerely inept motion picture, and that combination makes Friend Request the exact opposite of scary. It makes it unintentionally hilarious.

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

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.

Expend4bles is a crushing disappointment that lacks any of the nostalgia, charisma, and charm that made the franchise appealing in the first place. Perhaps worst of all, this failed mission is boring. There is no pleasure taken in saying this once highly entertaining action franchise is well past its AARPrime. It would have been great to have rounded the series off with a fifth entry, but after this flat and uninspired effort, the franchise doesn’t deserve that last hoorah.

AI-loving Marvel hitmakers Joe and Anthony Russo join forces again with Netflix to deliver a $300-million sci-fi epic you can safely half-watch while doing the dishes or making dinner.

The House isn’t quite another Will Ferrell classic but it’s a solid comedy offering that’s well put together and very funny. It’s as smart as it is stupid, it’s very entertaining, it delivers on what you’d expect it to and holds a few neat surprises.

A lesser installment in the series.

If the story behind this chilling internet creation could have matched the quality of those aforementioned strong points, Sony would have a real horror gem on their hands.

Some of it is a bit too goofy – I could do without the overly slapstick antics of the goofy paintballer who finds out a paintball gun is not much use against Jason – but the comedy is still an appreciated aspect of the film, and it's nice to finally have a Friday the 13th film where someone says they've seen enough horror movies to drive away from the scary guy in the mask standing in the road.

It's a pretty awesome, ambitious and sometimes very cheesy, apocalyptic sci-fi actioner. It just doesn't hold a candle to Star Wars, its cinematic big brother.

Daddy’s Home 2 seems like just another cookie-cutter comedy, but its heart is in the wrong place. It’s mean-spirited and half-hearted, and more than that… it’s just not funny.

Whether you find it exciting or troubling might vary from person to person, but either way Jennifer Garner delivers a standout performance that demands recognition, and will hopefully lead to better action movie roles for the actor in the future.

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.

No lies; there are a handful of moments that strike a smile. That said, enjoyment is fleeting like the glee of biting into candy only to find, seconds later, that it's black licorice flavor.

Bright could have been something truly special if it had slowed down the pace of its narrative to allow for a fuller exploration of its engaging world.

The stars are about the only reason to boot up this preposterous thriller, which ends up playing less like a critique of AI technology than another daydream about its power.

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.

Infinite is a chaotic film. Plucking from well-worn cliches, it’s familiar enough to scratch the itch of action entertainment. Yet its world-building is so wonky you might do better to switch off your brain and let the flashy stunts wash over you.

There's something kitschy about Howard the Duck that makes it fun to watch. It tried hard and provided you're not a huge stick in the mud, there's something in this movie for everyone.

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.

You know you are in trouble when the back cover of the DVD boasts that "There'll be a lot of thrillin' before Steel himself can start chillin'."

The Strangers – Chapter 2 makes a couple of minor improvements on the first film, but it’s ultimately just as slapdash as its predecessor.

The film is particularly disappointing as McTeigue also directed V for Vendetta, a much sharper, much more intriguing, much more thought-provoking look at our post-9/11 world.

The performances range from wooden Moussi to full-on Cage, so it's tonally all over the place. As a whole, it's an absolute mess, which makes it kind of perfect for 2020. Still, within this swamp of style, wildness, and TOO too much, there are some truly exhilarating treasures, chief among them Cage. In short, it's not good, but maybe being a lot just enough.

The Happytime Murders may not be a timeless classic on par with Roger Rabbit, but it’s more interesting and nuanced than its raunchy, violent humor suggests. The puppeteering is fantastic, the characters are interesting, and although the story isn’t ingenious the jokes are usually funny.

Flatliners had every opportunity to improve on the original, and it doesn’t take most of them. It falls flat as a horror movie but the cast is good enough, and the sci-fi concepts are interesting enough, to keep it from crashing completely.

Winnie-the-Pooh: Blood and Honey 2 takes the Terrifier 2 approach for a sequel with an absurd dedication to glorious slasher violence. It's inarguably better than the original, but that’s not saying all that much.

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

Shadow Force is more like the idea of a movie than a movie proper, totally generic and completely inert.

Terminal is an interesting revenge story that mostly works. There are a few missteps, namely a few wasted characters and a straight forward plot made needlessly complicated. Still, Vaughn Stein should be pleased with what’s here.

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.

The talents of Robert Downey Jr. and the all-star voice cast are wasted in the disastrous mess that is Dolittle.

Borderlands is an abysmal waste of a beloved franchise that takes a kooky band of murderous misfits and drains the life out of their first adventure together. Eli Roth is no James Gunn, and this film has none of the lovable lunatics, awe-striking sci-fi visuals, and out-of-this-world storytelling of Gunn’s Guardians of the Galaxy trilogy.

Madame Web has the makings of a interesting superhero psychological thriller, but with a script overcrowded with extraneous characters, basic archetypes, and generic dialogue, it fails the talent and the future of its onscreen Spider-Women.

No one will mistake this for Quality Cinema, and it's marred by a confusing, murky ending. But there are some good thrills along the way.

Pierre Morel's uninspired work behind the camera goes hand in hand with the film’s nondescript title, dragging viewers through a moodless, toothless action hybrid that, at its best, plays as forgettably inept even with ammunition flying in all directions.

Five Nights at Freddy's 2 gives sequels, video game adaptations, and gateway horror movies a bad name.

Officer Downe has nearly every element it needs to be an over-the-top, gross-out, truly funny, deeply weird, comic book adaptation, and some driving music to boot. These disparate elements, however, never jell into a single whole.

Psycho Killer may "have a Hulk," but it's also a parade of missteps and missed opportunities.

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

Dear David tries its best to scare, but it never quite brings the spookiness it promises. It suffers from trying to do a bit too much with the living characters and not enough with the dead ones. Also, way too much lens flare.

Here A Quiet Place thrilled by presenting a fleshed out family under a precise and horrifying threat, The Silence is satisfied to just plop down barely sketched characters then throw them into The Birds but more violent. That doesn't make it satisfying. There's just nothing special to be found in The Silence.

Me Time has bursts of energy and vibrancy, mostly involving its two leads and their snappy chemistry, but it's also a hodgepodge of predictable buddy comedy beats that doesn't do much to separate itself from what's come before.

The comedy is broad and slapstick, but ultimately the film is heartwarming and lovely. You’ll find yourself laughing in spite of your initial reaction to the goofiness of the premise. It’s also a fun way to spend an afternoon with the kids.

So, to sum it up, Superman IV: The Quest For Peace is only slightly better than being trapped in a bear hug with Jan DeBont, and several steps below having an esoteric conversation with the Ghoulies.

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.

Although inspired by an interesting post-modern true crime story, and featuring an unexpectedly depressive performance from Jim Carrey, Dark Crimes is a dull, dark, depressing film with very little on its mind.

The Snowman is a detective vs. serial killer thriller devoid of any thrills.

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.

Bolstered by a diverse and interesting cast of a kind we don’t see nearly enough, it paints a vivid portrait of the seedier side of the Los Angeles underworld.

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.

Geostorm is as dumb as you think, but more fun than you might expect.

The imagery is creepy and the pacing is brisk, but the story is a faded carbon copy of other, better serial killer thrillers, and the new additions to the Hellraiser mythology rob the Cenobites of their deviant allure and otherworldly menace.

Admittedly, I Spit on Your Grave is a gruesome, deplorable little exploitation picture that, on the surface, seems to enjoy it's rape sequences just as much, if not more, than the vengeance-filled finale. But on a more subtle level, the film is a surprisingly well-executed revenge story that plays like a brutally raw nerve – a terrifyingly stark view of the real horror of rape, painted by bizarre, skewed cinematography, gory violence, and a keen sense of creeping atmosphere and dread.

The Strangers - Chapter 3 is the weakest entry in a flat and tedious trilogy.

Mads Mikkelsen and Vanessa Hudgens’ on-screen chemistry bring some much-needed heart to Polar’s bloodsoaked story.

Winnie the Pooh: Blood and Honey is noteworthy only for its name, as it turns out that blending slasher blood with Pooh’s honey together is like oil and water: it just doesn’t mix.

If you're in the right mood and watching with others who can appreciate the art of a bad movie, A New Beginning is somewhat of a laugh riot.

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.

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.

Cosmic Sin is an excruciating watch, top to bottom, featuring an absolute mess of camera work, scenes where actors don't interact with one another, and bottom barrel sci-fi leftovers.

Patient Zero never realizes its potential.

The limitations of the animation keep the characters from ever fully emoting, but it’s the script that lets down the rest of the film. In live-action, with a tighter script, this could have been something special. Instead, it’s largely forgettable.

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.

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.

It does a great job of chronicling the amazing accomplishments of one of the best fighters in the world, but beyond that, it’s a lukewarm documentary that stays close to the surface.

Tokyo Ghoul’s live-action movie gets the basics of the series right but is ultimately a shallow version of its source material.

With a sensitive ear for the experiences of its friendly subject, and nothing but sympathy for what he says, Love and Saucers paints a fascinating portrait of a talented and unique person.

Sweet and sincere, Pokémon The Movie: The Power of Us is a light and fun adventure film filled with likable characters, fantastic creatures, and enough classic Pokémon to make the most die hard of fans happy.

A genuine masterpiece of B-movie awesomeness. It's surprisingly imaginative, ambitious and off-the-wall. It's got goofy puppet creatures, it's filled to the brim with nudity and sex, and padded with plenty of gags, gore and graphic violence. It's the stuff of B/C-movie dreams.

My Hero Academia: Two Heroes is an entertaining but inconsequential feature film take on the popular anime.

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.

It's not original in the slightest, it doesn't really connect well with the first film, and it's seasoned with the thinnest characters imaginable. But the film is scary in the right places, delivering pulse-pounding jolts and a freaky narrative. If you like the first two [REC] films or this picture's big brother, check this one out.

I just can't get enough of the mid 60s/70s Disney animation styles. With still rough lines, you actually get to see more of the animator's handiwork as opposed to the perfectly clean lines that you find in today's animated movies.

Netflix's uneven animated Godzilla saga receives an emotionally satisfying conclusion in The Planet Eater.

Reign of the Supermen is a squarely "middle of the pack" addition to DC's ever-growing lineup of animated movies.

I Want to Eat Your Pancreas is a beautiful and moving exploration of what it means to truly live.

While One Piece: Stampede doesn’t leave an impact, story-wise -- there are no great upheavals or shifting of the status quo -- that’s not really the point here. This movie is a celebration of the legacy of One Piece.

Pretending I'm a Superman will inspire you to get back on your board whether in real life or in the game.

There's some tension building that proves effective, but the film is mostly riddled with superfluous characters and pointless scenes.

Justice Society: World War II is an entertaining romp that ranks among DC's best animated movies.

Pretty Guardian Sailor Moon Eternal The Movie is a feel good adventure that boasts stunning animation, vibrant storytelling, and the return of our favorite magical girl Sailor Scouts in a dynamic double bill that will inspire and entertain.

Trollhunters: Rise of the Titans delivers an emotional and action-packed conclusion to the Tales of Arcadia saga, although the movie format doesn't give its large cast the chance to shine.

Shirobako: The Movie is a beautifully animated treat for fans of the series, but it might’ve benefited more from exploring less familiar territory.

Escape the Undertaker is a benign but effective use of Netflix's interactive abilities. Pairing the most macabre WWE Superstar with the company's most positive players makes for a fun showdown, one that you might wish had made it to official WWE TV -- not in this form, of course, but as a noble "turn to the dark side" storyline.

LEGO Star Wars Terrifying Tales gives the dark side its time to shine in a clever and funny mash-up of horror classics and Star Wars mythology.

More Jackass is never a bad thing, so Jackass Forever follow-up Jackass 4.5 is fun despite being a scattered collection of interviews and deleted scenes. Like its predecessors, it’s bonus content for a Jackass movie delivered at feature length, which makes it catnip for long-time fans.

With shades of Get Out, Culture Shock, and The Forever Purge, American Carnage is yet another frightening-enough, albeit bogged-down, tale about how the American Dream is no longer for everyone.

Unhuman is a good-enough breed of afterschool special horror that succeeds in championing positive messages between sloppier fights with the risen dead.

Shady lunatics are stuck in a lavish woodsy manor where they’re encouraged to explore their repressed issues to their most destructive ends — and that’s not even all of the devious entertainment available. It’s got storytelling hiccups along the way as Meir favors the absurdity of singular moments over and over, but that’s also part of its sharp-toothed charm. Come curious, leave bloody. That’s the path to enjoyment.

LEGO Star Wars Summer Vacation wraps up the trilogy of sequel character specials with an emotional conclusion and some very funny summer riffs on beloved characters.

Maneater proves that shark horror flicks need to be more than just a finned predator in any form and dead bodies — execution matters, especially when your animated shark looks this ugly.