There's Someone Inside Your House tries to make you think it's got a catchy, viable gimmick when in reality it's empty and unsatisfying.

The Invitation represents everything that makes for a middle-of-the-road vampire experience, but doesn’t deserve to be wholly written off.

One of the worst, most inexcusably poor movies Clint Eastwood has turned out in his career behind the camera and a possible contender for one of the worst films of the year. The 15:17 to Paris is so bad in so many ways that it’s impossible to recommend and that’s a crying shame.

Goodnight Mommy might be passable as a standalone, but it’s impossible to recommend over the original. Matt Sobel and ​​Kyle Warren venture somewhere new that still doesn’t differentiate nearly enough for its quieter approach.

Director Karen Cinorre has assembled a cast and production crew who work hard trying to bring life to her frustratingly abstract sketch of an idea that never coalesces into a satisfying narrative, or characters worth caring about.

Snatched has its fair share of laughs, but the film’s attempts at sustaining a legitimate emotional underpinning throughout are unsuccessful, thanks to a lackluster turn from Schumer, and some tiresome writing all across the board.

Director Jason Reitman does his father and fans proud with a funny, sweet, and spooky family movie that proudly takes on the legacy of Ghostbusters, while also introducing something exciting and new.

Outside the Wire is too long, too impenetrable, and not fun enough to warrant its lofty man vs. machine gimmick. It's fun to watch Anthony Mackie assume the role of a smart, cordial killbot, but the film's occasionally exciting bits of action aren't enough to breathe life into this muddled mess of a story.

Angel Has Fallen never quite digs deep enough into its themes and is inconsistent in its execution of action sequences.

Rampage doesn’t really offer much of anything new as a giant monster movie, a video game adaptation, or a Dwayne Johnson vehicle, but it still checks all the boxes expected from it, offering one just enough entertainment value to not make you completely hate it.

Despite this flaw, fans of the first film will still find things to like in the sequel.

Queenpins works best when Kristen Bell and Kirby Howell-Baptiste are allowed to let their effortless chemistry be the focus. Their comedic instincts are pitch perfect as their naïve pursuit of trying to get ahead financially snowballs into a multi-national coupon-stealing scheme that they are entirely unprepared to navigate. But the fun fizzles with depressing side stories, and especially when Vince Vaughn and Paul Walter Hauser commandeer too much screen time with middling results.

Insidious: The Red Door is a satisfying conclusion to the Lambert family’s long nightmare journey into The Further, even if it starts to rely too heavily on jump scares by the end.

Willy's Wonderland is a no-frills splatterfest that, while straining to fill its runtime, finds mid-level chills and thrills thanks to Nic Cage bashing the hell out of weaponized pizza parlor characters. It's a shoestring slasher that gets the job done while also not fully rounding a few of the corners it teases.

Cherry is big on style and features a bouncy, pricey soundtrack but its examination of the grim reality behind the veteran/addiction cycle feels rather routine. Holland breaks down many barriers here, performance-wise, and delivers the goods as a fantastic surrogate for societal ills, but the movie is plodding and, overall, an underwhelming patchwork of previous projects.

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

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

The Marksman is perfectly watchable old man reckoning cinema, held together by good performances by Liam Neeson and young Jacob Perez, but it's ultimately not much more than an assembly line of non-surprises.

Kingsman: The Golden Circle is as cheeky, cartoonish, and crazy as its predecessor, but it’s also commendably unafraid to demolish what had come before it if it’s in service of the story. The new dynamic between Eggsy and his team is great, and the Statesman prove amusing counterparts to these gentlemen spies from across the pond.

The love story between Mark Wahlberg and Halle Berry works, or at least meagerly satisfies, on only surface levels, as does most of the movie.

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.

Despite its ultra-low-budget trappings, Hellboy: The Crooked Man is a fun, competent adaptation that offers up a healthy dose of Evil Dead-style supernatural action.

Pacific Rim Uprising is a loyal, if unremarkable, successor to the giddy original.

Heart of Stone is so busy trying to start a franchise that it forgets to be a movie good enough to merit a sequel in the first place.

Brightburn doesn't take its satire to any kind of satisfying extreme – although a mid-credits stinger does include a larger joke at work – but as a superhero murder thriller, it is perfectly entertaining.

The King’s Man’s triumphant action and epic performances are dragged down by a confused story and overlong runtime.

Despite a capable cast and crew, Foe is a muddled mess that feels more like Black Mirror Lite than powerful sci-fi commentary.

It would be great to see Peter Farrelly recapture the comedic magic he and his brother achieved in their terrific 1990s run, but he doesn’t do so with Ricky Stanicky. It’s focused on too many un-engaging characters with a lot of would-be comedic banter that falls flat, while the attempts to blend drama with humor feel out of place.