Despite the efforts of a bright young cast, this is a hollow and depressing Gen Z romantic comedy. What’s even scarier is that this film comes from Mark Waters, the director of “Mean Girls,” a way savvier teen satire that doesn’t pander to its audience.

The Killer’s Game finally gives Dave Bautista a great rom-com part to play, so it’s a shame that his rom-com leading lady isn’t given the same opportunity to fully pop.

Easy on the eyes, intermittently amusing and never downright awful.

Trigger Warning only exists to serve the needs of a streaming algorithm, which is just as well, as that streaming algorithm is the only audience this undercooked and utterly lifeless piece of streaming content could ever hope to satisfy.

There’s just something retrograde about the entire thing, a copy of a copy, a “new” story with some very light edits to the “old” one, that bogs down even the lightest touches of merriment.

Instead of commenting on the vapidity of the film industry, Paul Schrader's miscast, poorly executed and utterly soulless drama is an example of the failing art form it seeks to indict. Though it has real ideas, Schrader and his team never manage to put them into action.

Space Jam: A New Legacy is as relentlessly odd as its predecessor, but its even giddier interest in corporate synergy turns it into a far more cynical outing. It will sell so many plush toys.

Neither goofy enough for camp status nor lackluster enough for extreme derision, Son of No One is just mediocre enough to be an easy target.

If this is the best Hollywood can offer these women, it’s not their fault for wanting to work. Instead, it’s on writers and studios to stop treating seniors like some sort of oddities to squeeze a few laughs out of before they croak.

Declaring Assassin’s Creed to be the best video game movie ever made is the kind of backhanded compliment that sounds like hyperbole, but the description fits the bill on both counts. Regardless of what you call this peculiar, arrestingly uninviting nonsense, the fact of the matter is that it’s the only blockbuster of 2016 that left me desperate for a sequel.

Special Correspondents is more about smirking sideways than it is laughing out loud, but it doesn't provoke much of either — it's one thing for Gervais to subdue his usual bark, but his bite has never been softer.

Blind is bad for many reasons, chief among them how it contributes to the belittling notion that representation doesn’t matter for a demographic that will never be able to see themselves on screen.

While shoving big messages inside animated offerings isn’t a new concept by any stretch of the imagination, The Nut Job 2 is uncomfortable with its most ambitious concepts, bookending them with gross-out nonsense that doesn’t seem engineered to appeal to anyone.

From the start, Whittington’s script lays everything out so schematically that there’s little reason to keep watching for the story.

As narrow as the universe is wide, this dull, sanitized dramatization of history’s tawdriest astronaut scandal has absolutely no idea how touching the heavens might transform a person — it only knows that it does.

For most of its interminable runtime, Action Point feels like a porno that deliberately ruins the sex scenes in order to stop you from fast-forwarding through the plot.

A lazily plotted and largely generic thriller.

In the face of icky writing, limp directing, awful pacing, horrific green screen, and terrible jokes, star Joey King spent three film adaptations of Beth Reeckles’ YA novels injecting heart and humor into her Elle Evans. Still, King’s charm isn’t enough to save the series, but it’s sure as hell the lone silver lining of a franchise that finally, blessedly, is coming to an end.

A(nother) disposable Netflix thriller that fails to do anything with its potentially clever premise, Brad Anderson’s Fractured isn’t the first modern riff on “The Lady Vanishes” — not even close — but it’s one of the few that finds a compelling new backdrop for that Agatha Christie-esque tale of conspiracy and gaslighting.

Art History is essentially Swanberg's version of "Zach and Miri Make a Porno," and, within the larger context of his career, just as inconsequential.

Naked Singularity is the work of an untested filmmaker who knows how to streamline but lacks the chutzpah to swing for the fences.

Cohen and Halberg manage an admirable faith in their own movie — delivering consistently delightful kills in a soapy story that doesn’t seem insecure until the very end.

There are plenty of plot devices to keep the audience on its toes, and Reynor is the epitome of a 21st century lovable antihero, so fashionable these days. He’s hard and grizzled when needed, but soft and playful as well.

Truth or Dare doesn’t aspire to groundbreaking heights, but it’s got just the right mix of laughs and scares to keep viewers engaged with the ridiculous concept they signed up to watch — and a welcome finale that suggests the game could come back for another round in the future.

While the film is understandably concerned with its titular characters — Ed Helms as straight-edge Detroit cop James Coffee, young star Terrence Little Gardenhigh as his plucky pre-teen foil Kareem — its real standouts are supporting talents like Gilpin and Taraji P. Henson, who end up holding together a film that perhaps should have focused on them instead (cutesy title to come).

Though born of an inventive idea, Camera Obscura comes out underdeveloped.

While The Affair rather adamantly insists that life doesn’t adhere to the idealized cleanliness of modern design, this hollow adaptation also never allows itself to share in the forward-thinking courage of its architecture.

The film's narrative is both plodding and predictable, and after the third or fourth battle sequence that leans so heavily on loud, thudding noises and swirling leather topcoats that it's impossible to see who is actually hitting who (and, moreover, why), audiences may be in danger of remembering just which "reimagined" fairy tale they're watching on screen.