New Gods: Yang Jiang is worth watching for its novel animated action sequences, but its muddled story lacks the punch of its predecessor, New Gods: Nezha Reborn.

Writer-director Elijah Bynum fills the screen with some impressive imagery, but it’s all in service of an ugliness that Magazine Dreams cops out on depicting.

The Outwaters is found-footage fearlessness that needs to be seen to be believed, but will be met by only the most divisive of reactions.

We Have a Ghost is a mostly bland movie, elevated by a few good performances and an intriguing premise that doesn’t go as far as it seems like it should.

Landscape with Invisible Hand is brimming with ideas and storylines, but they never come together as a satisfying whole.

Tetris tries its best to make a story about international video game rights into something infinitely more thrilling, with a smidge better than mixed results.

The film works, thanks to a surprisingly fun cast, but its best not to take things too seriously and just enjoy the film for what it is -- a brilliantly madcap slasher send-up.

The filmmakers definitely go for it in the gross-out gag department, with jokes about droppings and marking and red rockets. But beneath the vulgar laughs, this is a comedy nearly as formulaic and sentimental as the sappy tearjerkers it's lampooning. Its bark is worse than its bite.

The Covenant isn’t Guy Ritchie’s best, but standout performances from Jake Gyllenhaal and Dar Salim as bonded heroes save an otherwise bloated military thriller.

Leave the World Behind has a worthwhile cast, but its paranoid thrills quickly fizzle out en route to a baffling final scene.

Paul Feig’s Jackpot! may not know what it wants to be – riotous comedy, sincere drama, or sprawling action film – but its breakout supporting players elevate it from pure mediocrity to moderately entertaining.

Self Reliance's comedic riff on The Most Dangerous Game benefits from writer-director-star Jake Johnson’s extraordinary ability to commit to a bit – but it's lacking a sense of danger.

Trolls Band Together hits its chosen notes with its trademark glitter-drunk energy and some bonkers visual invention, but its mashing up of shiny pop hits (not to mention past Trolls movies) approaches exhaustion.

You can find horror movies a lot better than The Pope’s Exorcist, but in an increasingly stale exorcism subgenre, you can absolutely do worse as well – and Russel Crowe’s Italian accent is unintentionally hilarious.

While Mighty Morphin Power Rangers: Once and Always has a deeply emotional story at its center and plenty of fun nostalgic moments to enjoy during its one-hour runtime, it’s hard to shake the feeling that this special needed better effects and dialogue to make it truly Morphenomenal.

The film is pure sports-movie hokum, done with just enough conviction (much of it courtesy of David Harbour, who's typically excellent in the stock role of a racing veteran-turned-mentor) to help you ignore how relentlessly Gran Turismo advertises the games themselves.

Please Don’t Destroy: The Treasure of Foggy Mountain has way more laughs than the standard direct-to-streaming comedy, with some gloriously silly running gags and hilarious non sequiturs. But it lacks any real point of view behind that silliness.

Bird Box Barcelona ekes by thanks to dependable and lived-in performances, but overstays its post-apocalyptic welcome across its almost two-hour duration.

The result is a visually rich film that finds moments of entertaining inspiration but suffers from a frustrating lack of focus.

Cobweb feels like an incomplete collection of horror ideas that aren't explored to their full potential, but it ultimately succeeds thanks to deranged performances by Lizzy Caplan and Antony Starr.

Without Cagney, this movie would still be memorable, but probably only as a minor footnote to the better gangster films to come. With Cagney's smart acting, this movie is a decent watch.

A semi-confusing script and heavy-handed direction from David Ayer muddle the proceedings, but enough inspired pizazz and Statham’s earnest delivery of lines like “I protect the hive” just barely bring it all home.

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.

Glitch: The Rise and Fall of HQ Trivia is a fascinating look at the compressed life and death of the HQ Trivia app. It’s a familiar tale of tech failure, but the details – and the massive popularity of the app – make it an interesting one to watch.

No One Will Save You is at its best when it marries the tension of a home invasion thriller with the thrills of an alien abduction film, and Kaitlyn Dever proves she has the chops to carry a whole movie on strength of her facial expressions alone. However, the film ultimately fumbles when it becomes both a convoluted action film and an on-the-nose parable about overcoming grief and guilt.

Though its predestined, blockbuster exorcism sequence just manages to provide a satisfying conclusion to the story, the underdeveloped synchronized possession element creates more problems than it solves and adds bloat to a movie which would have benefitted from a leaner, more measured approach.

A strong sense of action and movement, but lacking on that whole talking thing.

Satanic Hispanics attempts to bring authentic Latin folklore to modern horror audiences and boasts great doses of monsters and gore. Unfortunately it’s also held back by some uneven storytelling and humor that doesn’t always land.