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.

Even with a strong cast led by Clive Owen and Amanda Seyfried, Netflix's Anon struggles to tell an engaging story.

A formulaic and depressing motion picture that takes meaningful characters and strips them of their reason to exist.

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.

A lesser installment in the series.

The problem is – the film plays more like a brainstorm exercise than a feature length film. There are gobs of great ideas here, but none of them connect in the way fans likely wanted.

This belated sequel lacks the wit and charm of its predecessor, resulting in a po-faced action flick that has "straight-to-DVD" written all over it.

The last thing a filmmaker wants to hear about their horror movie is that it was boring. Unfortunately, that word best describes Malevolent. Void of scares, its few engaging moments early on – and Celia Imrie’s acting – just aren’t enough to help Malevolent rise above its stilted performances and nonthreatening ghosts.

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

Despite some terrific race sequences, which Corman shot beautifully, the film, itself, is just a total bore.

What you don't expect is for the monster to look like (and be as harmless as) a hermit crab on steroids.

The movie doesn’t end up going anywhere and serves as little more than an excuse to get the movie’s stars into dapper suits and flat caps.