Beyond the tepid cultural commentary, the film has few other redeeming qualities.

There is nothing in The Family Plan that you haven’t seen before, to the point that there’s somehow even less.

Erik Bloomquist’s direction is composed, and his co-written screenplay with Carson plays on politician-slamming themes, yet Founders Day is still a second-tier slasher that crosses too many plotlines in an overly complicated small-town massacre.

More than anything, it functions as a powerful encapsulation of the death of innocence in youth; a distillation of the moments when we come to terms with the realization that our parents may not be the valorous outlines we’ve built them up to be.

Farrelly’s too busy making a Big Important Movie instead of making a movie that matters.

Though Green may alienate some audiences with choices nowhere near as terrifying as William Friedkin’s original, something about the film’s heart endears beyond another exorcism retread satisfied to follow the same blasphemous beats.

After storing up goodwill with its construction, melodrama and lead performance, The Visitor pulls back the curtain on its narrative, and its revelation, put vaguely, is a bummer.

Avnet likely means well, just as Rokeach meant well. Three Christs needs more than a deep focus on the Christs themselves, and on the system that so utterly failed them. It needs to focus on Stone, and on the collision between ego and benevolence that led to The Three Christs of Ypsilanti’s birth. That should be the story.

A confused mashup of psychological imprisonment thrillers, dystopian social satire and even something adjacent to zombie horror, it’s bereft of actual ideas despite its cement mixer of a premise, struggling to pad out its runtime with 10 minutes of limping credits at its conclusion, leaving 83 minutes as a remainder that feels like a short film or anthology entry dragged kicking and screaming to feature length.

Dead Men Tell No Tales doesn’t rewrite the rulebook for the franchise or the genre as a whole, and is wholly predictable from start to finish, but the likable characters—Thwaites and Scodelario have more natural presence and mutual chemistry than Bloom and Knightley—creative action set pieces, and Depp finally being put in his place in the franchise creates a fun ride that’s instantly forgettable. You know, like the ride itself.

I could dig into any number of the movie’s unfortunate choices, bad decisions or downright detestable elements—sprinkling in faint praise like, hey, the Tony-winning Platt might be acting through five layers of bullsh*t, but he can still sing—and I’d still never capture all the reasons Dear Evan Hansen fails.

Woodshock is a movie which doesn’t seem to have much interest in being a movie. It revels in images and sensations...without much mind paid to story or character development or really even any context demanded by the difficult issues it raises.

Misunderstandings abound in this ultra-lite comedy of errors. Physical pratfalls (think groin area injuries) get a lot of screen time. But there are moments where Mother of the Bride digs a little deeper, especially when it comes to Lana and Emma’s relationship.

Even though it may lack some nuanced darkness and some of the writing feels a little “on the nose,” as Jiminy himself says, with this family-friendly picture, Zemeckis blends state-of-the-art technology with more up-to-date morals to prove Pinocchio a real and alive text.

Tipping approaches this dilemma but is too intellectually distracted to focus on the raw complexities that would otherwise give it shape or resonance. He opts for spectacle, which wears thin fast.

Despite an incredibly talented cast of top-tier comedy talent, the film fails to establish a cohesive comedic tone, becoming only more unmoored when it reaches for unearned emotional profundity later on.

The only explanation for such shoddy plotting is that this is the first in a planned franchise, but Mile 22 gives us absolutely no reason to want to return to the world of Jimmy and his war games, an apocalyptic hellscape protected by a guy who cares about nobody and is fine with it, because nobody cares about him.

Behind You stumbles on inconsistency at best and hesitation at worst.

Unfortunately, Gemini Man is saddled with a fatally weak story, almost as if Lee chose a predictable action-thriller narrative so that he could focus his energy on the effects and frame rate. But the result is a quirky-looking movie that’s generally boring.

Where The Pickup could have most easily have ideologically separated itself would have been on the comedic side, by leaning into the talents of its marquee names, but it instead represses the delivery of jokes more and more as it goes, becoming merely another tepid crime caper without a more distinct identity.

It turns out, after the third attempt to recapture the magic of the first film, that the Men in Black universe is not a particularly compelling one after all. Probably time to move onto something else. They’re all tapped out here.

All Eyez on Me risks little, and as a result it’s not worthy of his complicated legacy.

Flight Risk feels like a free-floating outlet for a little bit of rage and a little bit of shtick, both Mad Mel standbys that he seems unwilling to really examine, within these confines or elsewhere.

Chaos Walking feels like a condensement of Ness’ trilogy of books instead of a straightforward translation of the first, and consequently there’s too much that needs to happen in too slim a running time, which leaves little space for making the movie’s conflicts matter.

While none of Viral’s segments manage to equal any of the better sequences from either previous V/H/S installments, what’s left is a solid group of vignettes that—while not reinventing the wheel—will surely put a smile on the right (albeit, twisted) viewers’ faces.

It is obnoxious, overlong, annoying and, above all, deeply unfunny.

Role Play hardly spices up the subgenre with its saucy date-night games, never as action-packed as Mr. & Mrs. Smith or as sweetly sincere as the rom-com classics that inspire this undercover tale about finding that special someone worth killing over.

The Jurassic World franchise may have willingly chosen extinction with this final entry, but Dominion would’ve killed it off anyways.