Fountain of Youth is a robust showcase of Guy Ritchie’s eye for action, but it falls well short of capturing the magic of the quintessential treasure-hunting movies it’s so clearly trying to replicate.

Venom: The Last Dance trips over its own tendrils and lets a boring, generic plot, and bad action distract from the surprisingly resilient central relationship between Eddie Brock and his symbiote bestie.

Even the most ardent defender of Paul W.S. Anderson’s work might think In the Lost Lands is the kind of mess that proves the Resident Evil director’s detractors right. It’s not just a barely comprehensible failure on its own, but an adaptation that takes a character-based drama and turns it into an ugly action flick.

Hellbound is gorier, larger, and more accessible than the first. It rehashes the original at the outset so people can grasp it whether or not they'd seen the first and as a result is an easier film to enjoy.

Even as Tom Clancy’s Without Remorse goes through some familiar paces, it’s elevated by the presence at its center of star/producer Michael B. Jordan.

Moonfall makes its big ideas feel small and unimportant.

The Curse of La Llorona offers some decently suspenseful set-pieces and has a family you care about at its center, but it's also a very familiar and formulaic Annabelle-adjacent entry in the Conjuring franchise.

The Woman in the Window has both flash and fizzle. Amy Adams is great in the lead role, presenting us with a shattered recluse who wages war on lucidity daily, but the rest of the cast, while noteworthy, are sort of relegated to being plot pawns. Still, if you're looking for a higher class of claustrophobic Noir, and don't care too much about the resolution, there's a playfulness on display here that might scratch an airport novel itch.

Miss Bala never quite delivers on its potential and lets down the woman at its center.

The Reef: Stalked is another middling mid-budget fin flick that’s tonally confused somewhere between Shark Week and Lifetime.

Meow, it may feel familiar, but that doesn’t mean you won’t have fun along the way with Super Troopers 2.

There’s nothing fresh, exciting, or particularly unique about Nicolas Pesce’s take on The Grudge. His passion for character-focused drama fails to spark in a barrage of scenes that feel like tedious outtakes from Lifetime movies.

The setup of the mystery is more satisfying than its payoff, and the film breaks down into an uninspired grab bag of contemporary horror influences.

O'Dessa delivers a bold, catchy musical set in a vibrant cyberpunk world that mixes naturalistic visuals with an aesthetic indebted to 1980s sci-fi and fantasy films. Sadie Sink shines as a singer who can change the world with her ballads, with a gender norm-defying performance and an enchanting singing voice.

As usual, Adam Sandler presents a mean-spirited comedy, but an unengaged cast and uninspired writing also make The Week Of a bore.

Lethal Weapon 3 picks up where Lethal Weapon 2 left off, with the same gags and tough-guy dialogue but things are starting to wear a bit thin.

Rife with great performances and disturbing imagery, The Carpenter’s Son transcends its trappings as a mere horror take on Christ and verges on challenging.

With any other actor as the menacing lead, Unhinged would have been a TV movie or straight-to-streaming release, but Crowe and a few well-executed scenes of action still manage to hold the viewer’s interest throughout what’s essentially 90 minutes of genre filler material.

Tim Story takes a classic movie franchise and drains it of all the action, sex and topicality that made it worth revisiting in the first place. Jackson, Roundtree and Usher have star power to spare but they’re asked to perform embarrassing and ignorant comedy routines, and the action is so unremarkable that the movie can’t even rely on that spectacle to compensate.

While Cronenberg works, the two other main humans - Boone and his girlfriend, are flat and boring, mostly due to uninspired performances. Still, that's like blasting Star Wars for Mark Hamill's acting. While this isn't as great as Star Wars, it's in the same vein, and if Nightbreed had made some loot, I think we would have gotten some very cool sequels with a fantastic mythology.

Theo is an engaging character – for the most part well played – and his journey is both entertaining and heartbreaking. Meaning much like the painting at the centre of this tale, Theo’s story both survives, and endures. despite the fragmented film’s shortcomings.

Meg 2: The Trench has all the excitement of fishing solo for two hours without a single bite. Wheatley is a shell of himself behind the camera, devoid of personality and originality.

IO provides a different take on a familiar premise. The story is intimate in nature, with a plot that highlights the importance of relationships – not just between partners or family members, but relationships in general. Its pacing and lack of urgency betrays the drama though.

The Astronaut has a game lead in Kate Mara and the decent stagings of a monster mystery, but it winds up being a humdrum offering in a genre usually teeming with imagination and innovation.

Director Robert Zemeckis hits a new artistic low with Welcome to Marwen, a film that mistakes schmaltz for substance and employs downright boring novelty animation in a hackneyed attempt to stir the emotions.

Despite a talented cast and great director, Netflix’s Lift proves to be an exceedingly unremarkable heist film.

Netflix's Extinction has its moments but is marred by a familiar premise, an uneven pace and a weak lead performance.

The Twin wastes its desolate location, talented cast, and strong opening in a meandering story that hinges on a last act reveal that doesn’t pay off.