It’s intermittently engaging as a B-movie, but so often strives for something more that it never finds a satisfying tone.

Despite a starring turn from Sam Rockwell (whose character arc boils down to mastering a Cockney accent) and a supporting performance that should help Phoebe Fox convert a small legion of new fans, this Blue Iguana is far less evocative of yesterday’s classics than it is of today’s direct-to-VOD dreck.

It would almost be impressive how many funny people it took to make something so unfunny — the full ensemble includes Nick Kroll, Allison Tolman, Michaela Watkins and Rob Huebel — only it’s difficult to be impressed when you’re focused on how little you’re laughing.

Fans of Soman Chainani’s popular fantasy series might feel as if a giant bone bird swooped out of the sky and carried them to streaming heaven, but not even Charlize Theron’s Mad Hatter cosplay or Michelle Yeoh’s cameo as a professor of smiling will be enough to enchant a wider audience to such a painfully overworked saga of friendship.

A tasteless and incredibly undercooked serving of the internet’s stalest Creepypasta, Slender Man aspires to be for the YouTube era what “The Ring” was to the last gasps of the VHS generation...there’s one fundamental difference that sets the two movies apart: “The Ring” is good, and Slender Man is terrible.

Brian Petsos’ interminable Big Gold Brick may be a film absent even the faintest trace of purpose or momentum — its endless parade of energy-less moments connected only by the lack of life shared between them, like a daisy chain of skeletons who are all holding hands — but the writer-director sincerely deserves credit for willing his feature debut into existence.

Art can be affirmation, but affirmation cannot be art.

This super-cheap Netflix Original is so determined to satisfy the algorithm that it would lack any coherent sense of self if not for the fact that it was chiefly designed as a star vehicle for Disney Channel grad Sofia Carson — but there’s something rather stubbornly honest about the heartbeat of desperation that thrums below its Walmart veneer.

Holiday movies don’t have to be good, they just have to be comfortable, and by that regrettable standard “Daddy’s Home 2” mostly gets the job done.

The new action flick Peppermint is a rare return to form for Garner, who doles out her vigilante justice with effortless charm. Unfortunately, that’s about the only reason to see Peppermint.

There aren’t that many minutes to mess up, but the film manages to make it feel much longer. At just 86 minutes, Brahms: The Boy II should fly by, but the film lurches forward with its momentum punctuated by bad jump scares and odd flashback sequences.

The Red Sea Diving Resort is a dull and derivative film that’s too in love with its heroes to bother with its victims.

A viewer may find themselves appreciating how the non-visual element of music allows figurative language to retain some wisp of mystery, whereas onscreen it’s made to wear its significance in blatant, artless ways.

Oliver Thompson's spellbindingly awful Welcome to Happiness isn't much worse than most first features — and, in some respects, it's far more ambitious — but this star-studded mess is the rare film that confronts you with the helplessness of watching someone self-sabotage their own work.

By the time the entire town discovers that Clint is trapped in a weird hole and Lucy has fallen for Chatwin’s Rydell White, No Stranger Than Love picks up some serious steam, balancing its bizarre tone with actual charm. Sadly, however, it’s too late to pull the production out of its own gaping void: The inability to treat its characters with respect.

So profoundly bad that it represents the worst of two entirely different mediums, Ratchet & Clank doesn't blur the line between movies and videogames so much as it flushes them both in a toilet and forces us to watch as they swirl together down the drain.

Although no one comes off looking especially good, an acceptable alternate title for the film could be "The Ugly Americans," because Mitch Glazer's script takes some of the worst stereotypes about ex-pats and blows them sky high.

From the director of “Suicide Squad” and the writer of “Victor Frankenstein” comes a fresh slice of hell that somehow represents new lows for them both — a dull and painfully derivative ordeal that that often feels like it was made just to put those earlier misfires into perspective.

It’s only 100 minutes long, but upward of 99 of those minutes are likely to be spent in silent boredom, if not irritated disbelief at being subjected to such guileless, artless nonsense.

There’s too much effort, too much time, and too much sincerity apparent behind this film to dismiss it outright. That’s what makes it frustrating, and maybe even tragic.

A repetitive slog that’s only shape or narrative momentum comes from its slow unmasking as religious propaganda.

A lukewarm soup of second-hand tropes that’s served in a portion too small to satisfy even the least discriminating thirst for slop, Infinite borrows so much from such obvious sources that it never bothers to establish an identity of its own.

As a book, Zeroville was a profound and intoxicating testament to the mythic power of images. As a movie, Zeroville is a compelling reminder to spend more time reading.

A shocking misfire that nevertheless demonstrates the sheer confidence in his storytelling that Dolan has cultivated over a decade of movies. It’s the only possible explanation for this baffling ensemble piece, a campy (if at times inspired) burst of melodrama and ludicrous scenarios caving into each other in a spectacular mash of half-baked ideas.

The gags in Mother Schmuckers are consistently more gross than funny, and the movie lacks the visual wit or malformed heart required to keep blood pumping as it runs itself ragged from one joke to the next.

The Divide manages to transcend its numerous flaws while indulging them: No matter where it falters, the underlying purpose stays put.

Mark Cullen’s ruthlessly boring and decidedly dismal Once Upon a Time in Venice marks a new low in Willis’ still-trucking action career, one that even Cage would likely flinch at, even if it does feature an entire sequence dedicated to naked skateboarding.

If [LaBeouf's] ultimately powerless to make this film worth watching, his performance is a strong reminder that his work should never be taken for granted.