So, to sum it up, Superman IV: The Quest For Peace is only slightly better than being trapped in a bear hug with Jan DeBont, and several steps below having an esoteric conversation with the Ghoulies.

The lazy gags, wasted supporting cast and unfocused writing make the film an unfunny chore, which evokes but doesn't come close to their earlier comedic outings.

Although inspired by an interesting post-modern true crime story, and featuring an unexpectedly depressive performance from Jim Carrey, Dark Crimes is a dull, dark, depressing film with very little on its mind.

The Snowman is a detective vs. serial killer thriller devoid of any thrills.

Father Figures is a baffling film, one that never seems to ever get a handle on what it is or what it wants to be. It’s one thing to make a movie about characters stuck in arrested development, unsure of where they’re going, but it’s another for the writing and editing to also feel that way. In short, Father Figures is just a straight-up mess.

Bolstered by a diverse and interesting cast of a kind we don’t see nearly enough, it paints a vivid portrait of the seedier side of the Los Angeles underworld.

Blumhouse’s theatrical adaptation of the TV classic Fantasy Island never quite works as a horror film, a comedy, or a melodrama despite its attempts at being all three. It works marginally better as a mystery but by that point, you’re not as invested in the story’s outcome or its generic protagonists to muster much of a reaction.

Geostorm is as dumb as you think, but more fun than you might expect.

The imagery is creepy and the pacing is brisk, but the story is a faded carbon copy of other, better serial killer thrillers, and the new additions to the Hellraiser mythology rob the Cenobites of their deviant allure and otherworldly menace.

Admittedly, I Spit on Your Grave is a gruesome, deplorable little exploitation picture that, on the surface, seems to enjoy it's rape sequences just as much, if not more, than the vengeance-filled finale. But on a more subtle level, the film is a surprisingly well-executed revenge story that plays like a brutally raw nerve – a terrifyingly stark view of the real horror of rape, painted by bizarre, skewed cinematography, gory violence, and a keen sense of creeping atmosphere and dread.

The Strangers - Chapter 3 is the weakest entry in a flat and tedious trilogy.

Mads Mikkelsen and Vanessa Hudgens’ on-screen chemistry bring some much-needed heart to Polar’s bloodsoaked story.

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.

If you're in the right mood and watching with others who can appreciate the art of a bad movie, A New Beginning is somewhat of a laugh riot.

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.

Despite the talents and charisma of its voice cast, The Emoji Movie fails to deliver on any of its intended messages or themes, with a final act that goes back on everything it had originally been trying to say.

Cosmic Sin is an excruciating watch, top to bottom, featuring an absolute mess of camera work, scenes where actors don't interact with one another, and bottom barrel sci-fi leftovers.

Patient Zero never realizes its potential.

The limitations of the animation keep the characters from ever fully emoting, but it’s the script that lets down the rest of the film. In live-action, with a tighter script, this could have been something special. Instead, it’s largely forgettable.

The Babysitter had potential but director McG treats this material like it’s one of the lamer American Pie sequels. The broadness of the humor detracts from the characters and the story and the horror, instead of complementing them.

An unremarkable entry in a cult favorite franchise, Jeepers Creepers 3 offers fans little to get excited about. While the monster still rules its slice of country highway and the skies above it, the rest of the film crashes in the cornfields.

It does a great job of chronicling the amazing accomplishments of one of the best fighters in the world, but beyond that, it’s a lukewarm documentary that stays close to the surface.

Tokyo Ghoul’s live-action movie gets the basics of the series right but is ultimately a shallow version of its source material.

With a sensitive ear for the experiences of its friendly subject, and nothing but sympathy for what he says, Love and Saucers paints a fascinating portrait of a talented and unique person.

Sweet and sincere, Pokémon The Movie: The Power of Us is a light and fun adventure film filled with likable characters, fantastic creatures, and enough classic Pokémon to make the most die hard of fans happy.

A genuine masterpiece of B-movie awesomeness. It's surprisingly imaginative, ambitious and off-the-wall. It's got goofy puppet creatures, it's filled to the brim with nudity and sex, and padded with plenty of gags, gore and graphic violence. It's the stuff of B/C-movie dreams.

My Hero Academia: Two Heroes is an entertaining but inconsequential feature film take on the popular anime.

The last thing a filmmaker wants to hear about their horror movie is that it was boring. Unfortunately, that word best describes Malevolent. Void of scares, its few engaging moments early on – and Celia Imrie’s acting – just aren’t enough to help Malevolent rise above its stilted performances and nonthreatening ghosts.