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.

It’s not very funny, it’s not very dramatic. There’s a spark of intelligence here, a valid critique of doomsday culture and escapism, but it’s the sort of message you can easily get off of a cocktail napkin.

While trying to hit the basic markers that have come to define a Purge film, The First Purge comes up empty when mining real-life tragedies as the backdrop for a summer movie.

It's for kids and it's cute. It's also an absolute eyesore, crassly overstuffed with retina-scorching color combinations and explosions of glitter. Frankly, it's disappointing that an animated movie with so much talent attached didn’t strive to be more than just "cute for kids." But hey, at least you can dance to it.

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.

Never Say Never Again never reaches the escapist thrills of vintage Connery and Moore; it cares too much about getting sued than it does about giving the actor a vehicle worth coming back to.

A workmanlike sequel, it lacks the wit and intelligence of its predecessor.

While it has an interesting hook, Chaos Walking never capitalizes on its premise or the promise offered by its cast.

Cleaner needed serious editing and instead, seems intent on being long and drawn out to prove some sort of point.

Clichés combined with poor dialogue and badly drawn characters that lack dimension bog down the heist movie Den of Thieves, which fails to sustain, or generate, any real tension.

Scott Cooper directs Hostiles with an eye for quote-unquote “greatness” but the actual material simply isn’t deep enough to justify the solemn presentation. It’s not entertaining, it’s not illuminating, it’s not even complicated. It’s mostly just a bummer.

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.

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

Greyhound has occasional bursts of violent excitement but it's overall lack of engaging characters, the unappetizing CG, and the lackluster story make for a very color-by-numbers outing from a headlining star capable of a whole lot more.

Even as its ambitions are laudable in casting a wide net over a variety of societal ills, the film can’t quite muster the will to follow through on those ambitions and instead succumbs too often to cliche when complexity was required.

I'm not sure who first had the idea to fit a father/daughter drama into a rom-com casing but the result is very weird and very unfulfilling. Tonal whiplash is the least of Like Father's problems though as it basically furthers the messaging that Netflix likes to have talented people make unexceptional films.

Puppet Master: The Littlest Reich almost works. The dialogue and performances are unusually good for this kind of material, and the gore effects are shocking. But the changes the filmmakers made to this franchise have unpleasant consequences, which dramatically reduce the film's entertainment value, and arguably rob these iconic puppets of the very characteristics that made them special.

Sadly, this routine remake doesn't manage to recapture the surreal strangeness of the original Disney classic or elevate the dated premise into something better.

While not as sweeping as The Warriors - lacking that film's epic underpinnings - Class of 1984 is a goofy jolt of low-octane ultra-violence.

Once Upon a Deadpool is a cute idea that doesn't live up to its potential, leaving audiences with little more than a less interesting version of a better movie they might have loved.

Zemeckis turns this beloved, dark story into a campy, weird, yet still fairly entertaining kid-friendly story of accepting oneself. The problem is that it pales in comparison to what came before.

There’s plenty to giggle at throughout, and even a few moments that might just give you goosebumps. Those qualities alone, despite the film’s flaws, make Ma an almost endlessly entertaining watch.

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.

Stuber is an awkward, uneven action-comedy that never realizes its full potential. It squanders a good premise and an odd couple pairing with potential that could have delivered something special.

The Jesus Rolls, while a passion project for the writer/director/star -- though it's unclear what Turturro wanted to do more: remake Going Places or do a Jesus follow-up? -- comes off like a flat fever dream. The famous faces are fun and at times there's a wee bit of misfit charm, but in the end it's clumsy and churlish.

It's a by-the-numbers variation on "The Monkey's Paw" coupled with a revenge flick. What makes the film worth seeing is not the story, the production values, or even the work of a truly underappreciated character actors like Henrickson. It's an eight foot tall demon ripping people to spare parts.

Wrinkles the Clown is a documentary that frequently entertains, but lacks true insight into the viral phenomenon.

Netflix's Earthquake Bird is a not particularly engaging thriller featuring an inert performance from Alicia Vikander.