Action Point contains some crazy stunts and some funny-ish gross-out humor, but is ultimately a pale echo of the dark destruction Johnny Knoxville became famous for.

Willis and Parker are fine in their respective roles, but neither character is given much spark. Willis sulks for most of the picture, grimacing at his enemies and drinking his way through scenes.

Not even John Boyega’s solid performance can salvage Naked Singularity, a thinly sketched, disappointingly generic crime thriller.

Tarot seems perpetually uncertain about whether it should play its thinly conceived premise for laughs, or actually pursue real scares. It winds up with neither, stumbling around in the dark and turning its small ensemble into a crude means of timekeeping for its surprisingly sluggish 90-minute runtime.

Unlike The Fly, You probably won't remember much of this after seeing it, and when a movie boasts as being no better but equal to the original, you can be pretty sure it isn't.

All the genre elements play like an afterthought, and that's frustrating because the rest of the movie isn't quite spry enough to stay interesting without action, adventure, or at least little more weirdness.

Probably the only terrifying thing about this ludicrous excuse for a horror film – besides the fact that it's from the director of The Exorcist – is that Friedkin doesn't seem to realize it's a dreadful picture.

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.

Coffee & Kareem keeps it simple, short, and to the (ultra) violent point as a raunchy cop comedy with clever jokes, zany action, and fun chemistry between leads Ed Helms and young Terrence Little Gardenhigh. It's a small cast but everyone in it is pretty funny, and the director easily knows how to craft a compelling mismatched partner scenario.

Knights of the Zodiac fails to inspire enough excitement to meet the prospect of future sequels with its lackluster visual effects and rather clunky storytelling.

Mute tries to tell a transformative sci-fi story but struggles to find its footing with a less than stellar hero.

I'm not going to lie to you here, this movie is a steaming pile of you-know-what. The acting is horrendous, the story is the most cookie-cutter clone of every movie after Star Wars as you can get, and the effects are downright laughable. Even an easy effect such as a laser blast looks bad here.

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.

Despite the inherent ugliness of watching a rich kid diabolically dig into a mom and dad who are just trying to save their home for the sake of their own children, Home Sweet Home Alone has some decent wit and heart to it. Archie Yates is good as the new precocious protector of his lair, but it's Rob Delaney and Ellie Kemper who anchor the film and give it something resembling a soul.

Birth of the Dragon is not the Bruce Lee biopic you’ve been waiting for, as strong performances and martial arts action by Philip Ng and Xia Yu are wasted on a movie that had too little faith in the real story.

Matthew Vaughn’s latest directorial effort doesn’t traffic in the same edgelord button-pushing as his Kingsman series, but as that relief fades, it becomes clear how much Argylle is recycling ideas and imagery from those (and other, better) movies. Bryce Dallas Howard and Sam Rockwell make an endearing pair, but they’re committed to an occasionally loony adventure that lacks the grace necessary to match its stars.

Ultimately, it's bland, not bold, and achingly absent of enchantment.

The Kitchen has a good cast and strong premise, but it never quite finds its footing and falls into gangster cliches.

Well written, well made, well acted, St. Elmo's Fire is a quintessential film about the strange middleground between youth and adulthood.

Super Mario Bros. has a solid cast of characters who are thrust into a psychedelic smattering of scenes hastily glued together in nearly offensively stupid ways, but it’s also strangely ambitious at times.

Morbius is unspectacular in ways that waste the potential of what could be an intriguing hybrid of sinister horror and superhero thrills.

It achieved a cult following for its uncompromising brutality, but it never really earned the critical or financial success many thought it deserved.

The Turning damns itself with good ideas turned bad and a flat-out ugly execution. Its talented cast can’t save it from cheap scares, poorly edited set-pieces, and a bad twist that leaves a worse taste in your mouth.

Scream 7 packs in plenty of satisfying slasher action, and may even bring some lapsed fans back into the fold by focusing down the scope of that action after Scream 6, but the new ideas it does bring to the table are either too thin to fully explore or ill-advised enough to detract from the success the movie does find in playing the hits, the deep cuts, and the killer tracks.

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.

The second part of Zack Snyder's Rebel Moon space opera, The Scargiver, delivers a half-baked conclusion to a well-trodden story with flimsy character studies and lacklustre action.

“Random” aptly summarizes Harold and the Purple Crayon, with its patchy subplots, distracting amount of dialogue added after filming was wrapped, and geographic cluelessness.

The Dark Tower is a thoroughly average take on some truly incredible source material. While the fantastic leads do the best with what they’re given, it’s ultimately not enough to compensate for a lack of time spent building characters and their motivations in the script.