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.

Peter Farrelly's follow-up to Green Book is a war drama with some solid laughs and a great Zac Efron performance, but a manipulative script with ugly optics and boring visuals that never achieve the prestige it clearly wants.

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

Hearts are ripped out, heads are smashed, and there's plenty of flesh to be seen. If that's what you crave for a night of retro viewing, this is your flick.

Andra Day delivers a commendable performance as matriarch Ebony Jackson, but the entire experience is neither scary enough as a horror film nor insightful enough as a drama to leave a mark.

Though its predestined, blockbuster exorcism sequence just manages to provide a satisfying conclusion to the story, the underdeveloped synchronized possession element creates more problems than it solves and adds bloat to a movie which would have benefitted from a leaner, more measured approach.

If you're a fan of revenge fantasies, The Wraith will likely whet your appetite even if it isn't the smartest or best film out there.

The Darkest Minds is a wholly rote YA sci-fi adventure that continues a genre that is pretty much dying out. Despite this, the film is capable and enjoyable and features a great lead actress in Amandla Stenberg.

Working from a script written by original helmer Romero based on a trilogy of lesser works by King, Creepshow 2 is a satisfying little anthology of terror that won't scare you so much as entertain you.

Please Don’t Feed the Children has a few things going for it – namely capable lead performers Michelle Dockery and Zoe Colletti – but Destry Allyn Spielberg’s boring, predictable first feature definitely doesn’t feel like it comes from a descendant of filmmaking royalty.

Pirates of the Caribbean: Dead Men Tell No Tales manages to be less bloated, dreary, and meandering than the last three entries have been, but it still suffers from many of the same wearisome, dredged-up villains and ho-hum action and comedy that have bedeviled the franchise since its second installment.

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.

Michael, or Bohemian Jacksody, is a film of listlessness and inhumanity that can’t help but suck the energy out of the room. No matter where you come down on Jackson as a person, this film is entirely the opposite of what he was, both as an iconic performer and a controversial tabloid figure. Who would have thought that such a carefully controlled, estate-permitted biopic might actually do more damage to an artist’s legacy by making him so uninteresting?

Diary of a Wimpy Kid: The Long Haul is yet another disappointing attempt by Hollywood to deliver an adaptation worthy of its source material.

Netflix’s The Dirt won’t win any awards nor will it inspire any would-be musicians, but it is entertaining and offers up a compelling story about Mötley Crüe. And while it isn’t a completely accurate depiction of the band’s tumultuous career, the film itself is insightful.

Aside from an unexpected ending, director Robert Zemeckis is basically doing a paint-by-numbers version of the studio’s much better original, just with modern animation and Tom Hanks. And while Tom always tries his best, even he can’t make this redo memorable on its own merits.

Justin Tipping’s flimsy football horror movie Him is papered over with colorful lighting but underscored by bland ideas. Despite Marlon Wayans’ bravura performance, it makes very little visceral impact while en route to one of the most confounding third acts of any horror movie this year.

Mile 22 is a straight-to-video action movie that got the big budget treatment, and not in the good, cheesy, fun way. It’s an undercooked story with characters who don’t know how to express themselves without yelling, and it’s full of laughable plot points.

Uneven but ambitious, Ang Lee's return to the action genre isn't as good as it should be but Will Smith, Benedict Wong, and Mary Elizabeth Winstead make this weird flick an entertaining watch even with an uninspired script.

MiB: International tries to invoke the original, but fails to match its key achievements: it isn’t funny or exciting.