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.

Malcolm & Marie is a well-acted but frustrating exploration of art and bad romance.

Rebellious game developer Midway's rise and fall gets a surprisingly tame retelling in the doc Insert Coin.

It’s disappointing to see a triad of talented actors like Denzel Washington, Rami Malek, and Jared Leto wasted in The Little Things, a straightforward and seldom surprising murder-mystery.

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.

The Color Purple strands a passionate cast in a passionless movie musical that’s eager to skip to the end.

Super Mario Bros. has a solid cast of characters who are thrust into a psychedelic smattering of scenes hastily glued together in nearly offensively stupid ways, but it’s also strangely ambitious at times.

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.

It's a heartbreaking tragedy, dreamer's comedy, and saucy stumble through double-edged "success" stories, but most of all? It's a bloated, brass-band-swingin' mess.

Though Jessica Chastain delivers a heartfelt performance as Tammy Faye, her faith in the filmmakers can’t save this drama from falling flat.

While there’s plenty of large entertaining set pieces, Sheridan’s intriguing premise withers under its overabundant components.

There are moments in The Unholy that strive for shocking, even sacrilegious. But Spiliotopoulos lacks either the imagination or the guts to create something truly soul-rattling.

Cry Macho has spare moments of charm and tranquility, but mostly it's a dry and unfinished story that fails to hit even the most basic of Story 101 beats.

There's not much to praise here. The script is beyond parody, the jokes fall flat, and it arguably wastes some of Hollywood's biggest names. But if you want to see lots of people getting blown up in some very pretty locations while Salma Hayek and Samuel L Jackson make sweet (gross) love while torturing Ryan Reynolds, then this one's for you.

I couldn’t help but feel like Things Heard & Seen would have been a much better film if they stripped away its ghostly elements in favor of everyday horrors that Pulcini and Berman nailed so effectively in its second act.

Demonic promises a fun and fascinating premise, but its scattered pieces barely coalesce.

Despite the powerful child performance at its center, David Oyelowo’s The Water Man struggles to focus on more than one narrative or visual idea at a time.

Though Chbosky’s staging is uninspired, the songs — both old and new — are nonetheless powerful, which might be enough of a lure for fans of the show or musicals in general. Sadly, Platt’s calamitous casting dooms this adaptation to cringe-worthy awkwardness.

Billy Porter's five fantastic on-screen minutes as the electric "Fab G" are over far too soon. Instead, Cinderella focuses on humor that rarely works (like James Corden’s huge head on a mouse body), an overstuffed, meandering soundtrack, and underwhelming vocals to back it. Ultimately, live-action Cinderella peaked in 1997.

Gunpowder Milkshake does its formidable cast dirty with a bland script, recycled story, and an empty comic book style that does little but shine up a stale outing.

The Last Mercenary has bounding energy and a fun take on star Jean-Claude Van Damme's past exploits as an action star, but the humor is way more miss than hit and the actual nuts-and-bolts spy plot is a trudge.

Sweet Girl is front-loaded with fun action, and it has a great performance by Jason Momoa as a widower seeking vengeance against a pharma CEO. But its story slowly loses steam, before being replaced by an entirely different movie with much sillier political messaging.

Where The Crawdads Sing is only mildly interesting if you look up the accusations against its author.

The movie's full of clunky dialogue, underdeveloped characters, and unbelievable scenarios. When all is said and done, Lang's performance just can't save the follow-up from the trappings of horror sequel mediocrity.

A deeply misguided act of worship, it starts out as a hilariously bizarre showreel of strange visual effects, before devolving into a distant, disconnected retelling of the highlights of Dion’s life.

While not without charm, the biggest factors working against Army of Thieves are a confused hybrid of horror and heist genre stories and an approach making it unclear which audience – other than the most ardent of Zack Snyder fans – it’s aimed at.

Copshop is meaningfully and enjoyably derivative as a patchwork homage to '70s shoot-em-up cinema (even Spaghetti Westerns), but it never quite reaches its potential.

It’s a rare misfire from director Sebastián Lelio, whose approach to his tale of a 19th century English nurse (Florence Pugh) investigating an Irish miracle is far too plain to be mysterious or stirring.