This story alone is gripping enough to warrant further study, but this documentary has very little in the way of actually exploring the case so much as it focuses on the conspiracies surrounding it.

Trust is a disappointing and lackluster attempt at exploring a tense and important issue.

Despite a stellar cast, Marlowe doesn’t rise to the occasion, stumbling along without ever finding its footing.

While Senior Year has certain moments that are indeed funny, it’s not enough to overcome the film’s many flaws.

Madame Web is boring, unimaginative and dated, despite being one of very few superhero movies centering on female superheroes. All in all, Madame Web is a superhero movie you can absolutely skip.

It’s a difficult film to take seriously, as it buries its potential in absurd drama, dialogue, and sequencing.

It’s a film so soulless I questioned the point of it.

Most of all, the movie reaffirms the fact that we still don’t have the iconic, big-budget Hart movie his career has been working towards.

While Hurley’s skill as a filmmaker was in question for the majority of the movie’s runtime, there are around 10 minutes near the end that hint that, with some work, he could hone his skills further.

If you've ever wondered what a remake of PrettyWoman written and directed by Guy Ritchie would look like, then Duchess (2024) is the film for you.

It hits the familiar beats that many find comforting, it has an undeniably adoring dog front and center for much of its runtime, and has a well-meaning enough outcome to its plot. But for those looking for something that doesn't quite literally skate the surface of its premise and characters, this is definitely not the film for you.

Assassin Club has the benefit of starring a relatively well-known actor, but even Golding can't save this movie from its mediocrity. Any hope Assassin Club had of being good is squandered within the first ten minutes.

The film refuses to linger in these quieter, well-acted Ritchson scenes, often in favor of a scene with Sharon. Swank is not necessarily bad in the role, but the film works too hard, and to minimal avail, to manipulate us into sympathy for her overbearing personality.

There is a very entertaining movie somewhere in The Ravine, but it seems to have been left on the editing room floor.

The film is a basic thriller with little to offer audiences who enjoy the genre.

He's All That is a hollow Gen Z recreation of She's All That, lacking in charm and seemingly engineered as a vehicle to promote its stars' other work.

By the time the film turns off autopilot, it's far too late, and the ending lands with the dull thud of a long-rotted body wrapped in an old rug.

Poolman is an unfunny spoof of neo-noir thrillers with hazy direction, even messier storytelling, and unbearable dialogue.

There's a sense of respect for both the L.A. gang codes and Latinx cultural traditions on display, but they're let down by the the film's plot and characters. Combined with Ayer's continued storytelling missteps, The Tax Collector amounts to a lot of blood and brutality without the soulfulness to match.

Even with a literary atmosphere and a steamy romance, the fact that My Oxford Year blatantly feels comfortable exploding emotional minefields for narratively unclear reasons clouds its potential success as a basic but inoffensive rom-com.

Carried by a generic story and uninspired performances, Behind You falls flat in its mission to terrify viewers with suspenseful mirror magic.

When it comes to horror, sometimes originality isn't necessary; what's key are the scares, and how everything unfolds. Unfortunately, Tarot falls flat in the former category, and the latter isn't particularly engaging.

The saving grace of the film all comes down to Jay Will’s breakout performance. Rob Peace simply does not work without him. Will’s charisma and dedication towards showcasing the light that Rob was offers a comfort to me that this film as a whole failed to provide.

Although the film's narrative is passable at best, it struggles to maintain any momentum due to uninteresting characters and predictably bad writing.

It could've made for a sharp comedy, but there's an ickiness that overwhelms the whole movie.

Despite the movie's obvious problems, it's hard to deny that Emma Roberts and Tom Hopper do their best to make Space Cadet a generally charming ride to watch.

Fully Realized Humans offers an honest look at an expecting couple's anxieties about becoming parents, but its approach is simply not compelling.

The film tends to bite off more than it can chew, and the end result is a colossal disappointment.

Lair could have been a solid entry in the horror genre had it not been hindered by a muddled narrative and sub-par execution, which only leaves the viewer wishing for something far more substantial than what was given.

This is a terribly unfunny venture, which fails at the film’s only job.

Fangs Out is not great and hardly promising, but there is an admirable quality to it that you can’t help but embrace.

The Curse of Bridge Hollow hopes to hide a clunky, unfunny script behind the veneer of a solid filmmaking apparatus, but it manages to test one's patience even at a merciful 89 minutes of runtime.

Brothers by Blood is an incomprehensible, frustrating mess that barely touches on its narrative themes and completely wastes the talents of its actors.

The surface-level script and refusal to commit to any character's development make the story and characters shadows of what they could have been.

With Nuremberg, James Vanderbilt is less interested in showing Hermann Göring (Russell Crowe) as "normal," as he is in accentuating Hitler's right-hand man as a charming charlatan. But this intentionality is miscalculated, and the film, bloated as it is with jarring tonal changes and thickly laid-on sentimentality, tilts so far into humanizing Nazis that it seems, at times, to apologize for the behavior of the high command.

Paint could’ve been funny; it could’ve had more heart; it could have even been more fun and ridiculous, with something interesting to say. But it's a mess from start to finish.

Full of repetitive flashbacks and constant yelling, Hillbilly Elegy strives to be the next great domestic drama, but falls short in several ways.

Something from Tiffany’s lacks a good enough script and the chemistry it needs to make anyone want to sit through another holiday rom-com.

Sykes brings what she can to the proceedings, but there's only so much she can do to make Undercard even slightly distinctive.

With nothing of substance to chew on, the only thing a (committed) viewer can do is strap in for the 90-minute runtime and wait to hear a tune they like - and hope that, once it's over, they emerge earworm-free.

Bigelow's film, disconnected as it is from the very people this type of situation would actually harm, is a futile salute towards hope, which unfairly assumes powerful people's positive intentions, underscored here by largely cookie-cutter characters and a lack of complexity.

This zombie horror that sees Lundgren’s tough mercenary lead a crack team of gamers into a zombie-ridden city is nowhere near as funny as that description may sound, playing things disappointingly straight and making for one of the actor’s more forgettable outings.

Uninspired in terms of narrative ingenuity, Sacrilege mimics cult horror tropes with detached superficiality, failing to either scare or compel.

The Trouble with Jessica's cast still can't overcome just how unlikable their characters are.

There's lots of bells and whistles, but in attempting to deconstruct and reconstruct Christmas spirit there's just never enough charm to carry the spell.

The heart of the problem is The Monkey King makes its central character, whose story has been told and retold for hundreds of years, uninteresting. Without that spine to hold it together, everything collapses.

The King's Man is a joyless prequel to Kingsman, devoid of the charming offbeat comedy and pulse-pounding action scenes that made this franchise fun.

What could have been a thoughtful, poignant story about loss ended up being an unfortunate misfire.

Although based on an intriguing philosophical conundrum, A Glitch in the Matrix feels unreal on all fronts, poorly-researched, out of touch and vapid.

Unfortunately for the streamer, their latest outing, Swapped, is not merely bound to be forgotten. It's also one of Netflix's worst animated movies yet."

The Shift is a Hallmark movie at best and will do nothing for those who are uninterested in faith-based cinema. As a work of science fiction, it does little to make the audience think.

Honeydew feels derivative from start to finish, its arthouse elements lending an aura of inauthenticity to an already-lackluster backwoods nightmare.

Though the actors have little to work with, they're a game ensemble, potentially making them the only redeeming quality of Hell of a Summer​​​​​​.

Terrifier 3 has a real lack of tension that all the sawed-off limbs in the world can't Frankenstein together.

While I am all for a genre-blended film, I found the movie's tonal clashes to be so extreme that it was hard to stay aligned with any character's internal experience.

Scream 7 injects nostalgia and self-referentiality like a weak drug, a stash of weed purchased so long ago it has gone so stale it crumbles to the touch.

The only real saving grace is the cast, who end up guinea pigs in a test of how difficult it is to overcome underbaked material.

There is too much history — both in terms of the characters and the mythology — for newcomers to truly appreciate the events of the film. But it's unlikely to fully satisfy even the diehard fans either, even if there's some wicked enjoyment to be had seeing the Teen Wolf characters finally get to swear.

The concept is promising, and the violent delirium of the movie's visuals show that this could have been a fun, adrenaline-fueled romp. Instead, it's just an unfunny comedy that leaves a bad taste in one's mouth.

Petsch and Scipio are both extremely attractive and breezy performers, but, the film is as sputtery as an old car on the fritz, failing to update its cinematic lineage in any conceivably positive way.

There is so much that could have been done with the film’s plot and twists, but it’s never confident enough in what the story has to offer to lean into any of what might have made it thrilling.

Alarum fails on all counts, and the few positives aren't successful in bringing the movie out of the gutter.

True crime buffs could find something here, but they might be better off reading the novel it's based on. Susan Smith's story deserved to be told, but there had to have been a better way to do it.

It's underdeveloped and underwhelming, with clunky pacing and choppy scene transitions. What could've been a thoughtful, engrossing story unfortunately fails in every way imaginable.

Taurus plays like a personal project, but that doesn’t make it good. However, Baker should take pride in knowing he has a future in acting; he just needs to pick better projects.

Larry Fessenden's Blackout is a frustrating bouillabaisse of two completely different movies that happen to be playing at the same time.

Its endless, unfunny humor is tiresome and obnoxious, the commentary is short-lived, and jokes related to Sam’s unpreparedness are repetitive.

The Colony utterly fails as a thriller, and, much like the environment the main character finds herself in, is mostly a slog.

Overly reliant on tropes that have been done to death, Reminiscence emerges as an inert ghost of the past with no innate value or meaning.

The film is unsure if wants to be a portrait of a man on the verge, a slasher, or a psychological chamber piece, and it ultimately fails to live up to any of these ideas.

Ultimately, there are few filmmakers whose work I admire more for its sophistication and undeniable humanity than that of Brooks, but this film isn’t just bad — it’s unbearable.

Unpredictability being its lone strength, We Need To Do Something is an uneven survival horror that gets caught up in its own pretentious trappings.

Nearly everything Ritchson and James do in the name of comedy is forced and untethered from reality. Then again, so is the movie, so at least it's consistent.

The result is an incoherent, messy, and disappointing movie.

Ultimately, Paranormal Activity: Next of Kin is neither a believable nor an entertaining film.

Not to put too fine a point on it, but Peas and Carrots is amateur on almost every front, and whatever it has to say about finding one's proper role in society is hidden inside some utterly confounding plot devices.

Damsel is a lifeless experience. The filmmakers have assembled all the constituent parts of an interesting fantasy adventure film — genre-bending premise, a starry cast, locations with character, and some creative creature design — but the connective tissue is paper-thin.

There could have been a lot to love about The King’s Daughter, but it seems the creative team simply did not know what to do with it.

First Date is a hodgepodge of familiar tropes and homages to teen romcoms and, while there is a sliver of promise, the film is lacking in charm.

Despite featuring tense chase and gore sequences that are fairly well-made, Texas Chainsaw Massacre butchers Leatherface's legacy in the dullest of ways.

The Sky Is Everywhere may be a visual treat, but it's soured by a complete lack of balance in the story structure, characterization, motivation, and pacing.

Not dissimilar from the real world, the scariest part of Student Body is patriarchy and gaslighting, not getting hit in the head with a sledgehammer by the school's mascot.

Unfortunately, the filmmaker's style lacks the same panache or intrigue as many other creature feature directors before him, which could partly be attributed to Gator Lake being his feature directorial debut, but also could just be that the movie's modest budget prevented some of his grander ambitions from coming to fruition.

Given The Furst Brothers are clearly aiming for an over-the-top and ridiculous tone, I'm sure the awful CGI was part of their vision, but rather than feel like a tongue-in-cheek genre film, it instead makes the movie one of the best it's-so-bad-it's-good horror films I've seen in a long time.

While she may not have been given the best material to work with, Meg Clarke proves to be one of the few bright points in The Banished as Grace.

From the completely random consortium of villains and bosses to fight scenes that are at times literally shot backward, a lot is going wrong.

Where there could have been thoughtful, poignant commentary about life’s regrets and the turmoil that can continue to permeate a father-son relationship over time, Mortensen drops the ball completely. Without a cohesive story, Falling spirals and offers little beyond good performances.

Replete with atrocious visual effects and sound design, Vanquish emerges as a ghost of an exciting action thriller with a tired, deadpan storyline.

Diary of a Wimpy Kid is a mediocre children's film that — 11 years after the first movie and 14 years after the initial hit book — feels at best derivative, and at worst unnecessary.

With no buildup, tension, or interesting characters, The Sinners fails in its execution and exploration in the themes it puts forth.

While the story at the center of it all proves intriguing, the execution dulls the narrative to the point of ruin.

I don’t go out of my way to drag films, as there is so much time and effort put into every project, and a film of this caliber was likely made with the best of intentions. But intending to craft a pitch-black dark crime comedy is different from actually executing one well. And Riff Raff just doesn't land.

Unevenly paced and with few laughs, Love Spreads fails to tell an engaging story and focuses too much on underdeveloped, unlikable characters.

Those looking for classic Scooby-Doo or anything more than superficial entertainment can skip Scoob! - even with the dearth of new movies.

With The Ruse , writer-director Stevan Mena aims to go for a more grounded and slow-burning thriller, but unfortunately, it lacks any kind of burn or tension.

The dialogue is clunky and almost universally awkwardly performed, much more so than in the first movie. The tonal mix of horror and silliness feels more jarring than complementary, and the filmmaking, which could accomplish so much just by sticking to genre fundamentals, is often egregiously sedate.

The film's dialogue is insincere and cookie-cutter, failing to deliver naturalistic character growth. And surmounting its inefficacy at simulating humanity is perhaps Old Guy's most glaring action movie sin: it's truly boring.

For fans of Murray's career, The Merry Gentlemen gives the actor another chance to shine in an otherwise unremarkable movie.