The most frustrating thing about Ritchie's take on King Arthur is that it has all the necessary elements to be a great version of the story, but rather than giving them to the audience as such, they are put into a blender and thoroughly mixed.

Despite the talents and charisma of its voice cast, The Emoji Movie fails to deliver on any of its intended messages or themes, with a final act that goes back on everything it had originally been trying to say.

It’s a straightforward retelling with a confusing design philosophy, disappointing action sequences, weak storytelling and a cast which clearly deserved better material.

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.

Although Taraji P. Henson is always a delight, a rote plot, bland action, and a serious lack of interpersonal chemistry hamstrings any potential Proud Mary might have at being fun.

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.

An unremarkable entry in a cult favorite franchise, Jeepers Creepers 3 offers fans little to get excited about. While the monster still rules its slice of country highway and the skies above it, the rest of the film crashes in the cornfields.

Cats’ special effects render director Tom Hooper’s star-studded adaptation of the Broadway classic a lifeless disaster, though a few of its more charismatic cast members, namely Judi Dench and Idris Elba, manage to get a few licks in to add an alluring, ironic camp value.

A great cast including Henry Cavill and Ben Kingsley is wasted in the predictable serial killer thriller Night Hunter.

Rambo: Last Blood captures everything that's gone wrong with this action franchise over the years.

There's not much to marvel at in Netflix's Unicorn Store, Brie Larson's astounding misfire of a directorial debut.

The lazy gags, wasted supporting cast and unfocused writing make the film an unfunny chore, which evokes but doesn't come close to their earlier comedic outings.

Blumhouse’s Truth or Dare is what happens when high concepts crash. The audience is here to watch people play a deadly game of Truth or Dare, and yet the film’s truths and dares are unremarkable, and the players are mostly boring.

Only Kaya Scodelario rises above the mess, working hard to try and craft an earnest and accomplished heroine that is by far too interesting for the rest of the boring dolts in the story.

Halloween 5 is a poor film by itself; the fact that it's filled with huge dangling plot threads that were given a bad pay off in the next sequel simply cements its badness.

It looks drab and feels like it was made by people who want to leave its magical premise behind, even though the series refuses to have anything resembling grown-up politics or perspectives.

The Last Knight is the loudest and most explosively dull installment yet.

Indiana Jones and the Dial of Destiny fails to recapture Spielberg’s magic. With uninspired action and conflicting themes and character motivations, it’s proof that some things should just be allowed to end.

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

Tom Hardy’s committed performance can’t overcome a painful script and indecisive direction, resulting in a film with a personality that’s as split as its titular character. There are occasional moments of brilliance in the dynamic between Eddie and Venom that give a hint of what the film could have been in steadier hands, but ultimately, that only makes the finished product a more frustrating viewing experience.

Wish Upon is the successor to the Final Destination franchise that no one asked for.

It’s neither funny nor exciting enough to obscure what a miasma of unfocused randomness it is, even though the cast is clearly trying to make something out of all this half-baked material.

There is a good story to further the violent adventures of Snake along; this is far from it. There are awesome, in-joke-with-your-friends guilty pleasures, and then there's Escape From L.A..

Rememory somehow managed to attract Peter Dinklage, Julia Ormond, and other established performers, and yet it completely lets them down.

Hellboy is a thin, clumsy, and charmless attempt at rebooting a beloved franchise. It's populated by forgettable characters motivated by confusing stakes, cheaply executed visuals, and distracting editing. Somewhere, a finger on a Hellboy fan's monkey's paw is curling up -- sure, HB might finally be back in the spotlight, but he definitely would have been better off left alone.

Ultimately, A Shot in the Dark is not superior to The Pink Panther, as many have suggested, but a somewhat predictably derivative sequel that maintains its predecessor's form but not substance.

As a whole the film was funny, but the lack of a living lead, led Trail to being more about the editing than the story.

Kings' fragmented treatment fails in delivering a compelling story. It also lacks the depth and clarity needed to convey a solid message, which one can assume was the purpose given the liberal use of certain politically charged images and sound bites. The potential was there for something grand though.