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.

Pitch Perfect 3 tears up the rule book for the franchise but sadly all the rules in it are what made the original work so well and the second film work well enough.

I was at least able to follow the plot (which is not to say it wasn't as ludicrous as any Bond film -- just that I could follow it). But most of all this movie has camp value -- it's fun to sit there and make fun of every last detail, and that redeems it quite a bit.

A sequel that hopes to court Saw fans and mainstream audiences alike, Spiral: From the Book of Saw is likely to alienate them both. It’s a hollow imitation of the series, unable to meet its most basic visual and narrative expectations. It’s also a bad film in general, which tries to tell a socially relevant story that it can’t seem to handle.

Leatherface is the worst Texas Chainsaw Massacre movie ever.

My Little Pony: The Movie falls apart in the end because it resolves its conflict the way that conventional blockbusters do, and not in the way that My Little Pony does.

Jigsaw barely feels like a part of the Saw franchise. It has deathtraps, but takes no pleasure in presenting them. It ignores most of the ongoing storyline. If it wasn’t part of the official franchise it would play like a knockoff.

Abraham’s Boys has some interesting ideas when it comes to a Van Helsing-based Dracula spinoff. Unfortunately, its weak visuals and lack of atmosphere stop it from fully delivering.

An uneven and festive offering brimming with glitter and gaudiness that excels when it embraces its strangeness and the brilliance of the production design.

The Boss Baby: Family Business delivers middle-road mirth, full of action and quasi-clever jokes, and featuring the fun voice additions of James Marsden, Jeff Goldblum, and Amy Sedaris.

Pete Davidson does solid enough work in a more dramatic role and the supporting cast does the best they can with the material, but The Home collapses under its muddled messaging, overly familiar and sometimes ridiculously heavy-handed imagery, and a lack of tension.