Overstuffed and wearisome, pulpy action comedy Boy Kills World proves that there can be too much of a good thing.

PAW Patrol: The Mighty Movie feels more like a legitimate feature film than its predecessor, but it’s still well within the realm of distractor cinema rather than something parents would want to watch with their kids.

While Wish is enjoyable, this new Disney fairytale doesn’t measure up to those that came before.

Destroy All Neighbors is a horror-comedy with a fun premise and creative effects but it’s messy in too many ineffective and wrong ways, like listening to a 20-minute jam session that never finds its hook.

Ranbir Kapoor is deeply committed to his brash and ugly protagonist, but in spite of the movie’s explosive action, director Sandeep Reddy Vanga seems more preoccupied with provoking outrage than with telling a coherent story.

Despite thoughtful visual artistry, and a great dramatic performance from Adam Sandler, Johan Renck’s Spaceman ends up too scattered, and too literal, to make its tale of a lonely astronaut feel remotely important.

Blitz's piercing sound design can't make up for its bloodless depiction of World War II, its scattered sense of place, and its saccharine approach to overcoming racial hostility. Saoirse Ronan is captivating in the role of a single white mother to a defiant Black son trying to make his way back home, but the movie can't seem to balance her talents with its own timeline.

Death of a Unicorn features fun fantasy ideas, but suffers from repetitive execution.

Although Holland takes place in a unique setting full of kitschy Midwestern details, even Nicole Kidman in frustrated-housewife mode can’t sustain the sloppily plotted thriller.

The worst thing about Joker: Folie à Deux is its unfulfilled potential. It begins with the promise of a novel approach to the Joker and Harley Quinn, placing them in a world where the opposite of cruelty is musical romance. Unfortunately, the DC sequel gets bogged down by a lengthy courtroom saga, which not only keeps the dazzling Lady Gaga away from the spotlight, but centers the movie entirely around its own predecessor, without doing or saying anything new.

Mia Goth shines as usual, and Ti West's third slasher entry feels more visually polished than its predecessors, but it's also more dramatically sterile, thanks to a story that quickly falls apart and mounting references that add up to very little (if anything at all).

Despite its ferocious source material and lead Amy Adams, Nightbitch is a bloodless tale of maternal doldrums with little payoff.

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.

Dev Patel’s diehard sincerity clashes with unwieldy religious imagery in an India-set revenge saga whose tepid action scenes fail to make up for its muddled politics.

Like a human turned into a creature of the night, Salem’s Lot kicks off with a strong sense of identity that slowly gives way to mindless vampire nonsense.

This futuristic sci-fi thriller has some good moments of ambiguous tension, but it’s too scaled back to make much of an impact.

Tron: Ares somehow forgets where it came from and relentlessly revisits the original, only making the latest version of the Grid paler by comparison.

Will Ferrell and Reese Witherspoon can’t quite salvage You're Cordially Invited, a comedy that's as overcrowded as the dueling nuptials it depicts.

Bugonia is a film that tries to balance barbed sci-fi themes and conspiracy looniness funneled through Lanthimos’ trademark quirks, but it slips off the pommel horse on the dismount.

Less of a movie and more of a series of non sequiturs, Despicable Me 4 is a Minions showcase interrupted by Gru and his family.

A one-angle drama spanning centuries, Robert Zemeckis' comic adaptation Here is experimental in appearance, but highly conventional in approach.

It has no soul or style, and creates no sense of chemistry between lead actors Omar Sy and Nathalie Emmanuel. They try their best to fill the movie's dead air with charm and anguish. Unfortunately, their best isn't enough.

Despite having an interesting take on werewolves, The Beast Within proves to be a middling experience.

Transformers One’s strong central friendship – and a great Brian Tyree Henry performance – aside, this animated origin story could have used some major transforming before rolling out.

There’s a disappointing amount of “same old thing” to Jurassic World Rebirth. Scarlett Johansson, Mahershala Ali, and the rest of the cast are intriguing and sympathetic throughout, but Gareth Edwards doesn’t quite recapture his signature flair for grand-scale visuals nor does David Koepp find the magic of his original Jurassic Park screenplay, opting to follow that movie’s structure as more of a remix than a rebirth.

You can admire the ambition of The Life of Chuck while still wondering if such a lightly philosophical story needed to make the leap to the screen – or if turning all of its prose into Nick Offerman voice-over was the best move. It’s less an adaptation, ultimately, than a glorified book on tape from a talented King superfan.

Although it has some delightfully grotesque monsters, Mr. Crocket is a kids’-show horror spoof that isn’t ready for primetime.

Kate Hudson and Hugh Jackman’s performances are a treat in Song Sung Blue. They sing and perform their hearts out, but none of it ends up in service to a coherent vision, let alone one that says something meaningful or profound.