The armies of visual effects teams at James Cameron's disposal struggle to hide the fact he's now on autopilot, expanding the world of Pandora without offering anything that feels particularly fresh. Even the set pieces failed to arouse much excitement.

After the Hunt is a slog that wastes the talents of its stars on unlikeable characters in befuddling situations, rarely coming near a coherent plot point with any degree of competence.

M3GAN 2.0 is too tiring to sustain enough laughter for even an ironic recommendation.

For a director whose recent work output suggests he moves straight onto the next project the second he calls cut on the last, it's surprising how much of Fountain of Youth feels reshot in post.

The Electric State is a soulless exercise in the same vein as a "Borderlands" or an "Argylle," a joyless affair that feels cobbled together by studio executives who are trying so desperately hard to manufacture a crowd-pleasing success by replicating formulaic genre beats and characterizations, that they never once stop to ask why anybody would care about the story they're trying to tell.

Instead of a slightly silly, character-driven series that spins off Michelle Yeoh's Emperor of the Terran Empire character, we get a hastily thrown together buddy comedy that lacks any semblance of humor or, for that matter, buddies.

This film is a slog to get through, and by the end you almost feel as though you yourself have been trapped in the hole for weeks.

The '94 film's characters were more vehicles upon which to project outside feelings about grief rather than individuals one could actively grieve for, so that is an area with room for improvement. Alas, almost every other decision made in this remake actively works against the principles of good drama, good entertainment, and good messaging.

While Roth and his production designer, Andrew Menzies, do many of the sets justice, particularly when the ragtag group goes to the city center, the story just can't live up to this. "Borderlands" is a poor man's version of "Guardians of the Galaxy"; while it may look kind of pretty, it has none of the personality of that earlier movie. Don't waste your time on this one.

Between characters who have no depth to them, cliched dialogue, and a strange approach towards the dynamics between an abuser and their victim, it's hard to recommend "It Ends with Us" to anyone but the most diehard Colleen Hoover fans. Pour one out for Blake Lively and Jenny Slate, who both deserve so much better.

It's almost impressive that a movie all about the power of imagination could be so creatively bankrupt and incurious about the world, but this misguided kids' film manages to be all that and so much more (or less, depending on your perspective).

Shyamalan may have inherited her father's love of the twist ending, but the one she creates in "The Watchers" is as unearned and unsatisfying as they come.