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.

Fear Street: Prom Queen fails to channel both the outrageous aesthetics and the brutal violence of the films it’s imitating, making this indifferently made exercise in YA horror supremely skippable.

825 Forest Road is a stodgy paranormal thriller that doesn’t boast enough character or intensity to reach the heights of its director’s Hell House LLC movies.

With Eddington, Ari Aster tries his hand at political satire and turns in his first bad movie.

Justin Tipping’s flimsy football horror movie Him is papered over with colorful lighting but underscored by bland ideas. Despite Marlon Wayans’ bravura performance, it makes very little visceral impact while en route to one of the most confounding third acts of any horror movie this year.

Pete Davidson does solid enough work in a more dramatic role and the supporting cast does the best they can with the material, but The Home collapses under its muddled messaging, overly familiar and sometimes ridiculously heavy-handed imagery, and a lack of tension.

Please Don’t Feed the Children has a few things going for it – namely capable lead performers Michelle Dockery and Zoe Colletti – but Destry Allyn Spielberg’s boring, predictable first feature definitely doesn’t feel like it comes from a descendant of filmmaking royalty.

Osiris is an Aliens retread that brings the firepower and little else.

Part modern mob movie, part period biopic, the star-studded In the Hand of Dante has big ideas that completely fail to cohere.

Anaconda is a disappointing follow-up for Gormican, who cannot crack the code on Sony's bewildering aquatic not-really-horror reboot. A cast of proven funny people are lost in a thick brush of hacky bits and ineffective storytelling, unable to machete their way through to a redeeming climax. There are brief bursts of creature-feature excitement and belly-tickling humor, but way more stretches of bafflingly unclear ambitions that feel like they're struggling to keep the "movie within a movie" gimmick afloat. It's Anaconda without the aqua-horror chills, throwback practical effects, and midnight-movie entertainment—what an odd choice.

Filled with never-ending voice over and exposition, utterly vapid and personality-free characters, and dull action beats, In the Grey is a low point for director Guy Ritchie, who’s proven in the past he’s capable of delivering much more entertaining films.

Iron Lung has terrible pacing and very low energy from the start. The scenarios that Fischbach has put his character in just aren’t compelling enough to watch unfold, with scenes that drag on and on.