The movie is so twisted up in its own metaphor that it can’t muster up a single ounce of terror for the one thing we all came to see: a werewolf.

Humor is subjective, but giving an example of Don’t Look Up’s specific jokes feels like a spoiler, depriving you of one of the three times you’ll likely experience a genuine laugh.

Snow White is supposed to be a story about how inner beauty is more important than outer beauty, but honestly, this movie has neither.

One Gets Out Alive is a desperate attempt to explore the immigration crisis through a horror lens, à la Remi Weekes’ stunning film His House. But Menghini’s film is an underwritten hodgepodge of hollow scares.

Even without the burden of introducing so many characters, the choices propelling Uncharted still lack stakes, genuine peril, fascinating twists on history, or adrenaline-pumping adventure.

The creators’ quest for deeper meaning feels strained and overreaching, and it overwhelms the adventurous spirit of the film’s first half. If anything, this is at least a great jumping-off point for Evans, who never wavers, even when everything around her does.

The film is missing out on a cohesive vision, to the point where the audience will spend the entire film waiting for the flashbacks and summaries to end, and for DaCosta’s movie to finally begin. But by the end, she’s only offered a visually stunning homage to the original film. For a director of her talent, that isn’t enough.

Mark Wahlberg should never be in a science fiction movie ever again. While the Paramount Plus exclusive streaming movie Infinite isn’t entirely his bad — the direction, script, and overall absence of creative vision also range from nonsensical to embarrassing — it suffers profoundly from his bland, phoned-in, looking-for-the-craft-table performance.

By zeroing in on the eldest Addams child, the new Addams Family 2 exposes just how clunky and wrongheaded its take on Wednesday is — and what the animated movies get wrong about the family in general.

The whole story hinges on a twist that’s superficially clever on paper but wildly farfetched in practice. Once that hinge has swung, Stone ratchets up the supposed tension with attempted murders, scuffles, chases, and confrontations. Yet as these attempts at excitement emerge, the movie itself flattens out.

The movie is so poorly staged that it manages to conceal the supposedly important hero/kid bonding elements, while telegraphing early on where the rest of the story is going.

Look Both Ways has nothing meaningful to say about any of the subjects it’s supposedly addressing. Even when the filmmakers get little details right (Natalie’s animation references are spot-on and very convincing), the movie is playing the supportive friend to its audience, patting viewers on the back and talking about how everything happens for a reason, and it’ll all turn out great.

It’s no better than it needs to be, and it’s not bad enough to be consistently laughable, either.

The sequel to Aquaman is a total bummer for those of us who enjoyed Aquaman.

The Invitation never manages to be scary, and it hides its vampires behind a lifeless love story.

A movie that feels like it’s been machine-learned and reverse-engineered from YouTube fanfic, rather than rooted in any kind of recognizable human experience, behavior, or psychology.

There’s no sign of sincerity anywhere in Beetlejuice Beetlejuice, and no hint of relatable feeling. The entire movie is an echo chamber crammed with incident.

Demonic is a frustrating movie, because in spite of all the problems, the world Blomkamp sets up is exciting and original.

In a movie that feels constricted in close-ups and boxed-in set pieces, the group’s music gives Moana 2 a much-needed epic quality. There are… devastating clunkers.

On film, this story’s foundation of cynical button-pushing is laid bare.

At best, it’s basically a heavy-handed, inelegant Twilight Zone episode that was ultimately rejected by the religious organization that commissioned it.

Flanagan’s sister piece ensures that its underlying meaning is as close to the surface as the shallow grave discovered in the second act. Flanagan chose to make Doctor Sleep utterly banal. Through means straightforward and blunt, he’s turned a surreal simulation of succumbing to insanity into a plainly stated reminder to always be true to yourself.

Nothing comes of anything either man says. It’s all noise — all passionless anger going in circles, captured by a camera that seems averse to lingering on the tremendous talents of Hopkins and Goode, who try their best to rescue Freud’s Last Session from itself.

I Got a Story to Tell is a movie without a clear audience. It’s too thin for fans who’ve heard every beat of this story told over and over again, and too narrow to be a good introduction to anyone who’s less familiar with Biggie’s work and his role in New York City hip-hop history.

In the process of stripping the series down to essentials, Green and co-writer Peter Sattler have made the most boring, uninspired version of The Exorcist imaginable: a regular old exorcism movie.

While it isn’t the worst film the franchise has to offer, that’s only because the competition is so weak.

To some extent, each shot is a little more neatly composed. But they’re all strung together with the barest visual and narrative connective tissue, resulting in a baffling film that feels strange not only for a modern blockbuster, but for a Transformers movie as well.

2014’s Goodnight Mommy is one of the best horror films of the last decade, but nearly every element that contributed to that quality has been ignored or reversed in this disappointment of a remake. Not all remakes are unequivocal failures, but this one is.