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.

Benicio del Toro's understated performance as a soft-spoken detective is about the only interesting thing about this new Netflix thriller, which drowns a thin murder mystery in lots of ominous atmosphere.

Pierre Morel's uninspired work behind the camera goes hand in hand with the film’s nondescript title, dragging viewers through a moodless, toothless action hybrid that, at its best, plays as forgettably inept even with ammunition flying in all directions.

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.