The Matrix Resurrections is a bunch of really good ideas stacked together to make a bad — and sometimes ugly — film.

The made-for-TV feel of the production, bland characters and familiar story leads to a pretty forgettable outing.

Escape Room: Tournament of Champions twists the puzzle premise of its hit predecessor into an unsolvable slog.

Simon Pegg and Lily Collins act the hell out of a script with a fun set-up and a lazy payoff.

Disney's Artemis Fowl is an empty science fantasy tale with forgettable characters and an uninspired story.

The subpar tech-horror film Come Play is as boring as it is painfully outdated.

Perhaps a slightly more engaging, focused narrative would have saved the film. As it stands, we're treated to 82 minutes of confused storytelling that spends the entire first half torturing our two principal leads in the most bizarre ways imaginable. Perhaps Corman fans should skip the first half of the film and simply watch the actual "Deathsport" sequences instead. The film will likely play much better as a 40-minute short.

Even without the content of 2020 making the film feel even more unpalatable, Netflix's The Last Days of American Crime is a distractingly dull dystopian thriller with drab (and/or extraneous) characters and a squandered premise.

Deep Water aspires to be a boundary-pushing erotic thriller but is stuck treading water in the kiddie pool.

Grimy, "topical" pandemic adventure Songbird is pretty much D.O.A. It struggles to find life in its secluded settings while also, overall, just leaving a bad taste in your mouth. The love story never catches hold, the ensemble never gels, and the contrivances pile up beyond all repair.

Cannibal Women In The Avocado Jungle Of Death would be one of those B-movies that has a message to get across, and it does so with a few actors and a script that's surprisingly well thought out, if to a cornball degree.

Melissa McCarthy and Octavia Spencer have sparkling screen presence, but can’t thrive under Ben Falcone’s utter lack of vision. Thunder Force doesn’t work as a superhero movie or a buddy comedy, as it refuses to revel in the big moments of either.

Curse you and your vile coma-inducing powers, Jennifer 8!

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

Jennifer Lopez and Josh Duhamel try their best with an interesting premise that’s squandered by script with barely any laughs, gratuitous violence and unconvincing action.

Sylvester Stallone doesn’t seem thrilled to be playing a superhero in Samaritan, a hodgepodge of non-ideas borrowed from better movies.

The cast is wasted in such lame roles, and the horror story’s uncertain tone falls far short of intriguing. So, despite one supremely frightening moment, this movie is not scary. It just stinks.

A low-energy comedy remade from a French farce, The Valet tries (and fails) to inject an absurd story of stardom and fake romance with added commentary and sentiment. Eugenio Derbez and Samara Weaving lead a more than capable cast, but they can’t overcome the film’s sluggish length and disconnected story.

It's a bizarre and overly rambunctious ride that forsakes cleverness for Billboard acts and dizzying set pieces.

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.