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.

The End We Start From is a muddy post-apocalyptic drama that fails to nail the human connection at its core.

Olivia Colman is a diamond in the rough, but even she can’t rescue a movie this flat and uninteresting.

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.

A boring, weightless revenge experiment that quickly goes awry, Silent Night features none of the charm or visual panache that made John Woo one of Hong Kong and Hollywood’s foremost action stylists.

The first chapter in Kevin Costner's epic western series is a meandering, regressive snooze.

Ghostbusters: Frozen Kingdom’s tiresome, bloated plot and expansive roster of characters will leave you out in the cold.

Role Play wants to be a star-driven caper merging complicated relationship dynamics with exciting espionage action. But despite a few brief signs of life, both sides of the film are woefully unconvincing, as are its stars. Kaley Cuoco goes way too broad, David Oyelowo looks pained, and the whole thing strains to imitate better movies.

Though the celebrity cast is giant, none of the colorful creatures they’re voicing are particularly memorable. And Krasinski favors trite platitudes over any real insights into the adventure of growing up; his dialogue will leave you pining for the strategic, well, quiet of his last onscreen family. What IF lacks is what it champions: the magical imagination of childhood.

The love story between Mark Wahlberg and Halle Berry works, or at least meagerly satisfies, on only surface levels, as does most of the movie.

Cameron Diaz and Jamie Foxx do their jobs in Back in Action, assuring that it remains mostly watchable. But it’s ultimately a bummer to watch two well-established stars and versatile actors returning to big-budget filmmaking just to make another spies-versus-real-life action-comedy.

Andra Day delivers a commendable performance as matriarch Ebony Jackson, but the entire experience is neither scary enough as a horror film nor insightful enough as a drama to leave a mark.

Megamind vs. the Doom Syndicate is nothing more than a lazy, 14-years-too-late cash-in on DreamWorks IP.

But as a comedy, Love Hurts is pretty stale; when not trotting out dopey crime-flick caricatures, it’s simply leaning on the supposed hilarity of a sunny house hunter with a secret talent for breaking bones. You’ve seen many versions of this premise, and better ones, too.

Despite revolving around a group of heroes battling to save existence from total annihilation, the film struggles to build meaningful stakes and establish a sense of dramatic weight. The lack of narrative focus around a single, main protagonist also severely hinders the film.

Crisis on Infinite Earths Part Three closes out DC's Tomorrowverse in big, messy, and forgettable fashion, so much so that it's tough to be enthused about whatever comes next.

My Oni Girl is an anime fantasy that makes you wonder why its cool demon hero would waste any time with a boy so exhaustingly dull.

The premise may be intriguing, but the repetitive approach and nearly identical lead characters renders the Ocean's duo without their signature chemistry and strands them in a distractingly underpopulated criminal underworld.

My Spy: The Eternal City is tailor-made for an awkward family movie night: too violent and suggestive for elementary schoolers, too dumb for teenagers, and too confusingly joke-free for adults expecting a comedy.

While the movie's points are clear, they're also cliché – as is the movie's horror. The director's ambition exceeds his grasp, telling a story about characters who are not well-drawn enough to feel either universal or specific. The result is a fraught romance that should be nerve-wracking but instead is mostly dull.

AI-loving Marvel hitmakers Joe and Anthony Russo join forces again with Netflix to deliver a $300-million sci-fi epic you can safely half-watch while doing the dishes or making dinner.

Overlord: The Sacred Kingdom disappoints by stuffing its long runtime with dull and monotonous chatter, and not enough of the grandiose moments that inspire the newest character in the series.

Jack Black will be enough to lure both kids and parents to the holiday comedy Dear Santa. But Black can’t carry the whole thing himself, and he’s eventually subdued by some deeply questionable story choices.

Even the most ardent defender of Paul W.S. Anderson’s work might think In the Lost Lands is the kind of mess that proves the Resident Evil director’s detractors right. It’s not just a barely comprehensible failure on its own, but an adaptation that takes a character-based drama and turns it into an ugly action flick.

Doug Cockle’s return as Geralt of Rivia is a casting coup worth celebrating. Too bad the movie he stars in is so boilerplate.

What Beat Takeshi’s mob comedy lacks in explosions, it more than makes up for in jokes that bomb.

Benedict Cumberbatch gives it his all in The Thing with Feathers, but the horror movie lives up to neither his performance, nor its own heavy-handed metaphor of a bullying crow-creature representing grief.

A headache-inducing screenlife film that straps Chris Pratt to a chair and holds its audience hostage too, Mercy squanders its potential as a sci-fi thriller about the dangers of entwining justice and artificial intelligence. The result plays less like the tongue-in-cheek mystery-thriller director Timur Bekmambetov seems to be aiming for, and more like an advertisement to tech investors, making the movie chilling in unintended ways.