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.

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

Charlize Theron's eerie turn as Megyn Kelly aside, Bombshell doesn't do justice to the subject matter it explores.

Though Benh Zeitlin clearly has a knack for directing children and an eye for shooting beautiful locales, Wendy ultimately falls flat. The pacing is uneven, the overt messaging spirals from hamfisted to uncomprehensible, and as good as the children at its core are, the film never offers up a story or film that is deserving of them.

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

Vivarium rates as an ambitious near-miss.

This journey from sun-soaked beaches to chilly English country, from heart-racing flirtation to soul-shattering stress, from new love to old regrets, feels dry and flaccid. Much like Mrs. de Winter, the long shadow of Hitchcock's Rebecca proves just too powerful to ignore.

Minions: The Rise of Gru is more Minion compilation than Gru prequel. It wastes its fun ideas and comedic setups in favor of disconnected slapstick gags, which may delight the diaper-wearing crowd, but will end up a chore to anyone forced to comprehend its inert dramatic scenes and ’70s pop culture references.

Though visually engaging, Malignant can’t overcome the genre identity crisis at its core.

The story's lifted a bit by some of the solid comedic actors, and the WWE Superstars who make a run-in, but when the story isn't sloppy, it's paint-by-numbers.

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

Ultimately, this storied provocateur deals out shocking imagery and disturbing scenes, but he refuses to lay down a thrilling climax much less anything satisfyingly entertaining.

Hubie Halloween is aggressively stupid, sure, but it's also occasionally endearing (with a guilty chuckle or two).

Despite the efforts of Idris Elba and the cast, Concrete Cowboy never explores its characters or premise in much depth.

The movie plays up sexual innuendo more than a group of junior high school kids, and it comes across almost as juvenile. Some of the jokes are indeed funny, but there aren't enough laughs to propel things through the dry spells.