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.

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

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.

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.

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

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

The tonal imbalance and the mismanaged themes make for an extremely uncomfortable watch. However, Dog might find an audience, one that is not so bothered by the lack of depth, and who will tolerate the surface-level insight into the issues it barely touches upon.

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.

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.

Leon imbues the film with an uncertain sense of dread, but he doesn’t lead the story or its protagonist anywhere worthwhile. It’s as though the narrative was designed specifically to capture the feeling of being lost in the city and what that might do to someone, but there’s very little exploration of Alina’s interiority for it to be satisfying.

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 chamber drama of a rich family in collapse is only successful as much as the context within which it exists, and, because that context is as slippery as it is, Anniversary just feels toothless.

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

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.

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​​​​​​.

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.

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.

Despite a committed and great performance from Jennifer Connelly, the themes of co-dependency and toxicity within mother/daughter relationships were simply not executed well. It goes without saying, but this is one of the biggest disappointments in recent memory.

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."

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.

None of it works. I'll cut to the quick: The Moment is an unmitigated disaster.

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.

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

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.

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

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.

Summering is a slow and ultimately boring mystery that does little to portray youth in a meaningful way.

The lack of a strong narrative and characters, paired with pacing issues, turn the film from an intriguing premise to a boring, hollow, and overall tedious watch.

Weighed down by its inability to fully commit to a story about fathers and lacking a fighting spirit, Rumble is far from being a must-see animation.

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

Spirit Halloween: The Movie is a missed opportunity at best and totally unnecessary at worst.

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.

Lacking narrative direction and even pacing, Monster Hunter is yet another soulless video game adaptation that drowns in its own inadequacy.

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

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.

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.

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.

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.

Unlike prior "house party" movies, Project X says nothing meaningful about its subject matter, and instead paints teens as an unlikeable and, worse yet, reckless bunch of automatons that would risk injury to themselves as well as others just for a passing glance from a pretty girl.

Caleb Landry Jones, who plays the hopeful hero, is brilliant, but the rest of the cast dulls his performance and turns something with promise hollow.

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.

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.

With its molasses pacing and bland direction, this film is an absolutely forgettable dud.

Those who may be new to the genre or merely want to disengage for a little bit will find merit in Choose or Die. But for bona fide horror fans, the derivativeness and the flatness of the execution is too much to tolerate.

Madres is extremely fragmented and painfully subpar, wasting a chance to tell an intriguing, nuanced story that is still an issue in the present.

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.

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

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

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

The script may be the film's rotten foundation, but no one element can take all the blame for its emptiness.

Red Sonja falls short of expectations from beginning to end; it only succeeds in following in the footsteps of the 1985 flop.

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 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.

The revelations of the film, once they come, are admittedly disturbing. But the route to get there is paved with blandness and awkward acting.

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

In the end, Waltzing with Brando will leave you with more questions about the man than you probably had going into it, which would be interesting enough if Fishman leaned harder into the murky waters of this particular celebrity's mythology. But, like the land upon which Judge tries to build an island escape, the film is in a constant state of drowning under its own ambition.

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.

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

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.

Abraham’s Boys wants to drive home a message about violent legacies and the never-ending cycle of generational trauma, but the payoff feels incongruous with the setup, the final kill feels unearned, and the B-movie execution makes it unintentionally funny.

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

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.

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.

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

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.

The film is woeful from top to bottom.

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.

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

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

The Addams Family 2 is a shallow continuation that spends too much time on unconnected hijinks, resulting in an uneven sequel with much less heart.

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

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.

The film is unable to sustain any tension and is seemingly afraid of its own potential for violence, despite gesturing toward the creative weapon choice that is practically a bar for entry into the slasher genre.

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.

Is The Desperate Hour tedious and dull? Without question, yes. The real issue, however, is that the subject matter is so inappropriate for this kind of story that the entire movie-viewing experience is tinged with a sickening hue.

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.

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.

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

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.

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

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

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.

Perhaps the lesson of the film is that regret is a waste of emotional bandwidth, but regret is easy to feel when the story is a fumbled as this.

The Tiger Rising is too serious and abstract for kids yet too ham-fisted for adults.

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

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.

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

The lingering lesson in all of this is Megan Fox deserves better and Big Gold Brick is a solid turd of a movie.

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

Dangerous is an action movie with a unique premise, but its poor writing, stiff acting, and lack of charm make the 2021 movie borderline unwatchable.

Shattered is a poorly-acted home invasion tale with laughably predictable twists, amping thorough frustration in viewers by dragging on to no end.

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.

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.

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

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.

It's rare that a film is this devoid of characterization, rarer still that a serial killer horror is this lacking in tension.