The performances range from wooden Moussi to full-on Cage, so it's tonally all over the place. As a whole, it's an absolute mess, which makes it kind of perfect for 2020. Still, within this swamp of style, wildness, and TOO too much, there are some truly exhilarating treasures, chief among them Cage. In short, it's not good, but maybe being a lot just enough.

The Happytime Murders may not be a timeless classic on par with Roger Rabbit, but it’s more interesting and nuanced than its raunchy, violent humor suggests. The puppeteering is fantastic, the characters are interesting, and although the story isn’t ingenious the jokes are usually funny.

Flatliners had every opportunity to improve on the original, and it doesn’t take most of them. It falls flat as a horror movie but the cast is good enough, and the sci-fi concepts are interesting enough, to keep it from crashing completely.

Winnie-the-Pooh: Blood and Honey 2 takes the Terrifier 2 approach for a sequel with an absurd dedication to glorious slasher violence. It's inarguably better than the original, but that’s not saying all that much.

The Last Knight is the loudest and most explosively dull installment yet.

Shadow Force is more like the idea of a movie than a movie proper, totally generic and completely inert.

Terminal is an interesting revenge story that mostly works. There are a few missteps, namely a few wasted characters and a straight forward plot made needlessly complicated. Still, Vaughn Stein should be pleased with what’s here.

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.

The talents of Robert Downey Jr. and the all-star voice cast are wasted in the disastrous mess that is Dolittle.

Borderlands is an abysmal waste of a beloved franchise that takes a kooky band of murderous misfits and drains the life out of their first adventure together. Eli Roth is no James Gunn, and this film has none of the lovable lunatics, awe-striking sci-fi visuals, and out-of-this-world storytelling of Gunn’s Guardians of the Galaxy trilogy.

Madame Web has the makings of a interesting superhero psychological thriller, but with a script overcrowded with extraneous characters, basic archetypes, and generic dialogue, it fails the talent and the future of its onscreen Spider-Women.

No one will mistake this for Quality Cinema, and it's marred by a confusing, murky ending. But there are some good thrills along the way.

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.

Five Nights at Freddy's 2 gives sequels, video game adaptations, and gateway horror movies a bad name.

Officer Downe has nearly every element it needs to be an over-the-top, gross-out, truly funny, deeply weird, comic book adaptation, and some driving music to boot. These disparate elements, however, never jell into a single whole.

Psycho Killer may "have a Hulk," but it's also a parade of missteps and missed opportunities.

Rambo: Last Blood captures everything that's gone wrong with this action franchise over the years.

Dear David tries its best to scare, but it never quite brings the spookiness it promises. It suffers from trying to do a bit too much with the living characters and not enough with the dead ones. Also, way too much lens flare.

Here A Quiet Place thrilled by presenting a fleshed out family under a precise and horrifying threat, The Silence is satisfied to just plop down barely sketched characters then throw them into The Birds but more violent. That doesn't make it satisfying. There's just nothing special to be found in The Silence.

Me Time has bursts of energy and vibrancy, mostly involving its two leads and their snappy chemistry, but it's also a hodgepodge of predictable buddy comedy beats that doesn't do much to separate itself from what's come before.

The comedy is broad and slapstick, but ultimately the film is heartwarming and lovely. You’ll find yourself laughing in spite of your initial reaction to the goofiness of the premise. It’s also a fun way to spend an afternoon with the kids.

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.