Wayans has always been an underrated physical comedian, and the movie works best when he’s allowed to unleash that side of his persona, but that’s too rare and not enough to rescue the rest of this comedy ceremony.

Nothing about this inert, dull project feels like a movie. It’s a half-idea, half-heartedly filmed. Yes, it’s a kids’ movie, but kids are smarter in 2020 about their action entertainment and putting this alongside all the Marvel movies on Disney Plus feels almost mean.

Real quicksand may not drag its victims down, but Quicksand sinks beneath the weight of its missed opportunities.

To her credit, Callies has an accessible presence and tries to provide more pathos and humanity than were supplied on the page, even as her character makes increasingly idiotic decisions in the name of parental love.

There’s no real tension in this murder mystery (or much mystery, for that matter), the kills aren’t clever, and eventually this part of the story ends up feeling entirely unnecessary.

If there is such a thing as a pulse in movies, there are sections of this one where a defibrillator would come in handy. This is not due to a lack of action scenes but those included are strung together with long, slow stretches.

All these “what incredible irony!” moments are designed to…well, I’m not quite sure. The movie’s final line, an appropriation of the dying words of a black man killed by police, is an exploitative and cheap reversal that legitimately addresses precisely nothing.

The movie's promise collapses under the weight of inconsistent characters and a generic, cliché-ridden plot.

While Lutz might possess the beefcake to fill out his chest armor, he lacks the acting chops to make us much care about the fate of his gleaming hero who looks as if he just stepped out of a Beverly Hills salon.

It’s a film filled with half-hearted ideas and thin characters, all in the service of a story that wallows in its trauma in a manner that gives it little purpose.

There’s a definite beginning, a doughy middle, and a gaping end to “Project Wolf Hunting,” but they somehow don’t cohere into a feature-length spectacle.

It wants to inspire as well as entertain. It’s "The Hangover" aimed at Christian audiences, and if that sounds like an impossible prospect, well, that’s because it is.

Aside from a rock-solid performance by Thomas Jane as the grizzled cop, Crown Vic, which is named after the Ford model car that is the default of the LAPD black-and-white, has very little to offer the discriminating moviegoer.

Shook, about an influencer being tormented by a mysterious caller, takes the bait on making a movie about such social media vanity, but its touch-and-go terror hardly offers commentary or cleverness.

Unlike “Stranger Things,” The Wretched is a little too cute about teen angst, and not light enough on its feet to make you want to root for its ostensibly typical adolescent.

The pieces are all there, but they never really snap into place.

As an enormous fan of Argento, I would love to be able to report that “Dark Glasses” is a worthy entry in his filmography, even if I had to go out on a limb to make my case. However, there's no branch long enough that would allow anyone to defend this particular effort, perhaps the only way in which the word “effort” could be used in conjunction with this film.

So hectically overdone in style that it already feels dated despite its timely leanings, Levinson’s film vaguely shelters a compelling story about today’s unforgiving online mob mentality beneath its convoluted layers.

This sluggish tale of remorse and forgiveness mostly remains bland and distant, like the many generic aerial shots of Rome that it offers.

The movie goes for grin-and-cringe-inducing, and instead achieves “excruciating.”

Very little about this movie works, in spite of a certain ambition in telling a story based solely on unfathomable decisions.

Some of the familiar and faithfully recreated twists and turns of the original “One Cut of the Dead” still land here, but not enough to make this leaden remake seem endearing or zany enough to pick through.

Justice may have a striking screen presence, but she can only do much with material that’s less than heavenly.

There are no people to watch in Fantastic Four, only collections of character traits and attitudes brought fitfully to life by actors who might've mistakenly thought they were hitching a ride on the superhero movie gravy train by signing up for this misfire.

A tepid situation comedy in indie drama drag, "The Black Sea" lacks a sense of urgency beyond a few moments of canned tension between Khalid and Georgi (Stoyo Mirkov), a haughty Bulgarian fisherman.

It's all a bit overheated, and while there is certainly nothing wrong with melodrama, the problem arises when the script (also by Tornatore) keeps insisting on explaining its own symbolism and subtext, to make sure we get how deep the thing is.

The ultra-violent take on “Home Alone” with a precocious teen girl who dispatches bad guys like a killer in a slasher movie? That’s where Becky falls apart.

Whether you think Casanova's a hero worth idolizing, or a dull-as-dishwater man whore from a sexist past, Casanova, Last Love will make you believe he deserved better than this.