The Retaliators tries to transform musical stardom into a rock n’ roll horror epic, but suffers from “too many cooks” syndrome as the end product plays disjointed and can feel like a music video demo reel.

There's nothing uniquely surprising or exceptionally rousing, which is a shame given the unfathomably dreadful predicament and an interesting turn of a performance from Dave Bautista. It's a film without sensation that feels like it's pulling its punches across the board – development is stunted, ideas lack passion, and the camera avoids visible violence – before the ending strolls off into the sunset with barely any goodbye.

Even Ryan Reynolds and Will Ferrell aren’t charming enough to redeem AppleTV+’s humbug musical adaptation of A Christmas Carol.

While Sharper is visually stylish and is driven by some excellent performances from Sebastian Stan, Julianne Moore, and Brianna Middleton, this con-artist thriller overuses the same plot twists so much that they lose all their impact, and later the initially shrewd characters become too easily bamboozled.

Despite a stellar performance from Willem Dafoe as a contemplative art thief, Inside lacks the smarts and visual panache to make good use of its single location.

Kids vs. Aliens brings gloopy, grotesque practical effects to a childlike sci-fi thriller that fails to shine outside kill sequences and costumes.

Casper Kelly psychotically spoofs the strangest of strange horror titles that turn anything into a murderous entity while unraveling deadly severe social commentaries. It’s abstract art, theater camp, found footage foolishness, hunt-and-stalk depravity — Adult Swim Yule Log is a whole lot of things but, even with a full 90 minutes, few angles feel fully fleshed out.

Sword Art Online Progressive: Scherzo of Deep Night won't woo any new fans into the fold, but it's an enjoyable enough return to the world of Aincrad for longtime viewers to dig into.

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

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.

Netflix’s The Monkey King is an example of a potentially great film that’s undone by poor pacing, uneven animation, and a truly unlikable protagonist.

For a movie about a guy trying to save himself and his kids from a car that might blow up at any moment, it's curiously low on thrills and complications.

All Fun and Games is an appetizer of a movie served as the main course, lacking in creativity when it comes to turning childhood games into pure horror.

Dear David tries its best to scare, but it never quite brings the spookiness it promises. It suffers from trying to do a bit too much with the living characters and not enough with the dead ones. Also, way too much lens flare.

Unfortunately, great performances and reverence for the sport aren’t enough to save a film at odds with itself.

Migration is satisfactory but uninspiring.

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.