The Starling contains themes of grief and guilt that are worth exploration, but finds itself unable to delve deep into these elements, instead relying on bad bird effects and a needlessly quirky and eccentric tone to gloss over most of the uncomfortable elements.

Hypnotic, starring Ben Affleck, is a sci-fi thriller by Robert Rodriguez with few hints of sci-fi, thrills, or Robert Rodriguez.

That's Entertainment won't enrich your mind, won't move you emotionally (except for maybe Kelly's classic rain sequence, but who hasn't seen that one already?) and unless you're already a fan of the musicals, probably won't entertain you much. And if you are a fan of those classics, you're better off getting them individually.

A film about so many different things that it ends up about none of them, Aaron Sorkin’s Being the Ricardos is visually inert, and features an emotionally stifled performance from Nicole Kidman as the lively Lucille Ball. Javier Bardem brings energy to Desi Arnaz, but it isn’t enough to pick the disjointed pieces up off the floor.

It's rarely funny when it's supposed to be, and often unintentionally hilarious when it's not. But to be fair, that's not all de Sauza's fault. Some of the dialogue might have been funny had the punchlines not been botched by Van Damme's awkward accent and flat delivery.

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.

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.

Umma isn’t scary, but the themes behind it are terrifying as it deals with generational trauma and guilt. Though the cultural references run deep, it’s overstuffed with symbolic imagery that is never fully explained. Though Oh and Stewart give solid performances, the tone and tension of the story ends up being choppy and underwhelming.

David Slade's long-delayed creature feature is ludicrous nonsense enlivened only by the occasional splash of gore.

Bardo speaks the language of dreams, but it also speaks the language of explaining those dreams in the most boring and literal ways.

Despite its great performances, Next Exit is a mess of a movie that fails to take advantage of its own supernatural premise.

Chinatown had sex, greed and water, Body Heat had sex, greed and high humidity, while Mulholland Falls has alluded-to sex, hats and cigarettes bundled with radiation sickness and anachronistic pop psychology references. (Palminteri spouts endless Sensitive Guy pabulum that's supposed to be ironic. It's not.) It's a mess and a shame, considering all the talent involved.

The Garfield Movie applies some nice animation to an annoying all-ages comedy of product placement, phone jokes, and daddy issues.

Winnie the Pooh: Blood and Honey is noteworthy only for its name, as it turns out that blending slasher blood with Pooh’s honey together is like oil and water: it just doesn’t mix.

No lies; there are a handful of moments that strike a smile. That said, enjoyment is fleeting like the glee of biting into candy only to find, seconds later, that it's black licorice flavor.

After five great seasons, Luther’s feature film adaptation proves to be a major let down, robbing the title character and his loyal fans of the little delights that made the series work.

Part sci-fi satire, part futuristic dramedy, and almost entirely sterile, The Pod Generation seeks to make lofty comments about our world, and the politics of women’s and workers’ autonomy. However, it scarcely has anything to offer beyond the sleek technological designs it tries and fails to critique.

Whenever it dares to display hints of dreamlike abstraction, Carmen quickly returns to its rote formless-ness, as a heatless desert romance about a pair of non-characters on the run. Neither mysterious nor boisterous, it’s one of the most head-scratching musicals in years.

Despite a great ensemble cast, Zack Snyder's space opera is let down by a derivative patchwork script, mediocre action sequences and a superficial story that fails to live up to its expansive promise.

Despite a starry cast and endearing performance from Joey King, A Family Affair is as messy as the conflicting professional and personal relationships it depicts. A convoluted and superficial script and yawning direction fail to deliver character stakes worth getting behind.

The Black Demon barely makes a splash in a pool filled with better shark attack movies, falling victim to a small body count, a grating protagonist, and disappointing digital effects.

This big-screen take on the indie-horror sensation has too much plot and not enough of the game's primal security-cam thrills.

It Lives Inside feels desperate to project specific cultural experiences, but it has neither the tact nor the aesthetic flair to weave a competent horror movie around them.

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.

The stars are about the only reason to boot up this preposterous thriller, which ends up playing less like a critique of AI technology than another daydream about its power.

Venom: The Last Dance trips over its own tendrils and lets a boring, generic plot, and bad action distract from the surprisingly resilient central relationship between Eddie Brock and his symbiote bestie.

Despite a capable cast and crew, Foe is a muddled mess that feels more like Black Mirror Lite than powerful sci-fi commentary.

Vacation Friends 2 adds a few fresh elements to its too-soon sequelizing, but they can’t change this comedy’s listless, laugh-light trajectory.