Tyler Perry's movies fall into many genres, but Divorce in the Black treads no new ground compared to his other dramas. Even in the film's most shocking moments, its narrative is part of a common formula.

Whitebloom struggles to bring the excitement into his heist film, Stowaway, his feature debut, like he’s done in past music videos.

Dicks: The Musical is simply doing too much, and not enough of it is good to justify its runtime. It’s neither clever nor funny, save for the couple of jokes that actually land, and it’s too smarmy for its own good.

Audiences are left with a puzzling mosaic of jump scares, one-note characters, and schlocky gore that will certainly disturb but won't leave much impact beyond its slim runtime.

A rousing story about finding someone and falling in love this is not — nor does it truly contend with the need for human connection very well.

Incoming has funny moments, and the young actors deliver their lines with the commitment of seasoned professionals every step of the way. However, as I was watching, I was endlessly reminded that watching Incoming's influences would have been more enjoyable.

The Gallerist is a tepid satire. Even calling it such feels generous, as the film is almost entirely devoid of genuine humor.

The performance factor alone is fantastic and engaging. Boylan’s own performance is convincing and occasionally even emotional, but her acting talents unfortunately can’t overcome the issues that stem from the writing.

Even more than its two predecessors, the film relies on being condescension to sell its so-called magic.

The film’s cast is great and, though the actors typically have great comedic timing, the dialogue falls flat and renders the humor inert. About My Father has a heart at its center, but it never really gets there in terms of having a compelling story and humor to elevate its scenes.

Ultimately, it is a gorgeous film that's empty inside despite all of its interesting ideas and good intentions.

Unfortunately, Cinderella lacks the specificity of Ever After and doesn’t commit to the full fantasy of Brandy’s Cinderella, either, nor does it have the charisma of Ella Enchanted.

This is classic B-movie creature-feature stuff.

Guadagnino is, unfortunately, unable to find a consistent tone that leaves the narrative feeling disjointed and lacking in coherence.

The Babysitter: Killer Queen is junk food entertainment at its most mediocre, delivering barely enough blood and fun without anything truly memorable.

At times fun and well-made, Amsterdam's meandering plot and thinly-drawn characters bog down what could've been a zippy story of crime and friendship.

The plot of the movie works, but the dialogue definitely does not. The style is fine, but the tone is lacking. The Sacrifice Game is a film with the potential to be something cool and eerie, but the final product doesn't live up to that.

At its best, Mr. K is like being immersed in Hieronymous Bosch's Garden of Earthly Delights. More often, however, it's like living inside a trash heap.

If anything, She Loved Blossoms More isn’t weird enough, holding out on exploring what’s beyond the time machine, which is the most compelling aspect of the film.

Slapdash to a fault, Coffee & Kareem is an irreverent time-waster that can't make up its mind about whether it's sophomoric or subversive.

It doesn't quite rise to the level of "good" often enough for me to heartily recommend it. However, those who have a morbid fascination with this new crop of public domain horror could do much, much, much worse.

For those who may not have seen X, Pearl may be intriguing enough for them to go watch the original film. As both a prequel and standalone horror film, however, Pearl comes up short.

If nothing else, Emmerich certainly knows how to create catastrophe while providing a sense of hope despite everything. Does that save Moonfall from being messy? No, but surely some will find it enjoyable regardless.

It needed something to make it feel fresh beyond dazzling visuals, but by stripping away much of what made the first film great, Pinocchio feels like the same old story, even if its fantastical elements shine onscreen.

There’s no denying this is a film capable of winning audiences of all types with its inherent charm, humor, and nostalgia. For me, however, this was 91 minutes of unfocused, chaotic energy that I did not enjoy. Tonally, the movie is all over the place, while its themes are explored with timid execution.

The script has its moments, and I chuckled a bit at a few points. But what the film lacks is genuine heart and warmth.

With a premise worth engaging with, the film can’t quite grasp what its full intentions are and the execution reflects that.

It's kind of disappointing just how in the middle Almost Cops is when it comes to how safe it plays, even with its mature rating.

Younger children will delight in the film's atmospheric wonder, but older children may be bored by the simple yet nonspecific comedy.

Lang really goes for it here, and he sells the material as best as he can, but suffice it to say that Hellfire is only as entertaining as your bandwidth for bog-standard action fare.

Justice League: Crisis on Infinite Earths - Part Two is a disappointing entry, failing to truly and comprehensively build a bridge between the first film and the third film.

Unfortunately, the film doesn’t invest in its characters or in its world beyond the surface, so why should we?

As much as it tries to be a mash-up of several genres, it would've been much better had it picked one lane and leaned into it.

Together finds moments of real emotion between its main prickly pair, but it still makes one wish there weren't movies about COVID already.

Despite a fine performance from Jared Leto, Morbius is a painfully mediocre superhero origin story, delivering a shallow recreation of better movies.

In the end, Escape the Field is tolerable at best. It doesn't shatter any expectations, but it won’t be utterly hated if one decides to give it a go. There are more charming and innovative horror-thrillers about escaping a maze, but Escape the Field tries. For a first feature, it is serviceable for a small-budget venture.

While I do appreciate it when a film shoots for the moon and tries something different, Alma and the Wolf missed.

Slow and frustrating, with a finale that is unearned, Red Rocket fluctuates between trying to say something and getting lost in its own premise.

The Eternal City struggles with finding the tonal balance between a child-friendly action-comedy and an adult-appropriate action-comedy.

With thinly written characters and a narrative confined to moments only serving to push Mike and Kate to the height of insanity, this is about as disappointing as it gets for a film with such promise and potential.

Vacation Friends finds its humor in the disconcerting scenarios the characters find themselves in, but it never evolves past its empty premise.

Offering no individuality of its own, Zone 414 barely manages to stay afloat with its oft-repeated tropes, which come to a listless, foreseeable end.

I Know What You Did Last Summer isn't the worst long-awaited horror sequel ever put to screen, but it doesn't try to be anything but a shallow reflection of its predecessor.

A highly restrained examination of multiple topics, The Second Act is a film about everything and nothing all at once. Perhaps in line with Dupieux’s style, the surreal, dark humor and commentary produce a messy end product that overstays its welcome.

Its absurdity is enough to appeal to the right group of adventurous friends, perhaps, but even those with the stomach for its grossest impulses might find themselves wondering what it was all for.

Ultimately, The Cursed is merely a slow trek through horrific gore, lackluster and confusing werewolf lore, and a muddled understanding of the legacy of the Roma.

Even though Invader presents some interesting ideas and even a few tense scenes, the movie fails to capture much interest beyond its initial premise.

As a whole, The Turning is a triumph of style over substance that might've well made for a perfectly middle of the road horror film, had it not been edited down to the point of becoming incoherent by the end.

Sex Appeal has good intentions and good instincts, but a lack of nuance torpedoes the whole endeavor.

The Last Thing Mary Saw could've been a gripping queer horror about religious oppression, but is sadly limited by its humdrum and unconvincing plot.

Christmas with the Campbells tries to take some big swings toward shaking up the conventional holiday movie mold, but it ultimately ends up being more of the same, just with some sticky moments. The earnestness of its cast, especially Snow, makes up for some of the other elements that are lacking.

The sparsely populated funny moments don't make up for the lack of craftsmanship in the story's journey.

From a bizarre villain to unexpected musical numbers, Barb and Star Go to Vista Del Mar is egregiously bad, but with splashes of occasional humor.

The story is just so rushed, there’s barely any time spent on establishing the world we’re introduced to before it’s full-speed ahead.

Armageddon Time excels at capturing naiveté but under-commits to sharing the truths of racial disparity when it comes to the American dream.

The World to Come has the ingredients to build a blossoming love story, but the script is thin and far too rigid for the romance to ever fully soar.

Comedically, the film also falters . . . Nor is there much that is distinctive about the animation style.

The result is a baffling and confounding mess that is either intended to make audiences laugh or is dead-serious in its pursuit. Whatever the intention, it is up to viewers to decipher what is most true to them.

Bleeding Love remains under-written and over-directed, unable to fully justify the time it asks for. If you're wanting to see Ewan McGregor do some quality acting, there are plenty of more rewarding options.

The circumstances around Audrey and Eli's union (Moon Choi and Son Suk-ku, respectively) is tender, yet forceful, beautiful, yet pained; but the film is otherwise formless, uninspiring and moves like molasses.

Studio 666 is not great but it is gross, at times funny, and essential viewing for Foo Fighters fans. But it isn’t as good as the video for Long Road To Ruin.

What’s ultimately missing from Til Death Do Us Part is proper execution and a script that the actors can build upon.

The Ice Age Adventures of Buck Wild is the sixth movie in the Fox animated franchise, and it is easily the worst entry in the series so far.

The first half is wildly fun, especially as it puts characters in the uncomfortable position of being at a party that goes awry shortly after the countdown. But what starts off as a quirky teen comedy with hints of sci-fi catastrophe turns into a messy romp that loses its intrigue.

Already working with a shakily thin script, Jákl weighs his movie down with an overly self-serious aesthetic, to the point that even the target audience might find the two-hour runtime a tough sit.

The film is heavy-handed in its attempt to be subtle and even Brody’s score can’t save the day, but Clean has its moments.

While A Different Man attempts to be a thought-provoking work some of the time, it’s not as deep or as profound as it aims to be.

Ultimately, the film is far too placid and noncommittal to earn its more moving climax. It's hard to really care about these characters when their stream of decisions seems either improperly motivated or else frustratingly selfish.

With predictable twists and one grating character, the Lionsgate movie tries to do something different from others like it, but it can't quite reach the heights that its main characters aren't (and should be) afraid of.

While a few of the actors give decent performances, it is not enough to overcome the stilted writing.

Atlas is like an artificial sci-fi movie that walks and talks like the real thing, but just isn't.

Written and directed by Mike Cahill, Bliss has strong ideas about economic inequality and it ambitiously works to pull off being a sci-fi thriller that is layered with social commentary. However, the film falls short of delivering something more compelling and complex, primarily because it's trying to do too much at once.

The lack of specificity around the situation and the underbaked character development reduces Azrael to being nothing more than a horror with an interesting premise.

What they cannot ignore is that the film is otherwise still lacking. For all the epithets one could throw out about Wuthering Heights, the most surprising may be that it is an abject snooze, and that its nonchalance about color-specific casting reveals a filmmaker completely insensitive to the implications of race in the late 18th century.

Like many of Netflix's original movies, Kate feels like another release that had potential to be good, but falls well short of the mark.

Dear Evan Hansen might be well-meaning, but it completely misses the mark. It’s not the worst movie out this year, but it’s not a musical one might be inclined to rush to the theater to see, either.

The Seven Faces Of Jane is an experiment that just does not deliver the right results.

Earwig and the Witch has all the parts needed to be a fun and memorable film, but seems to lack the manual for how to bring it all together.

Shell is funny and nice to look at it, but it lacks the depth or the darkness that it needs.

Flora & Ulysses has all of the right ingredients, but falls short of bringing them all together, leaving the film an uncharismatic and empty shell.

The best we can hope for is that Summer of 69 will open the door for more contemporary conversations in coming-of-age movies that aren't afraid to have more fun.

It’s fraught with frenetic energy and delightfully charming performances, but Blithe Spirit is not as funny or absurd as it sets out to be.

There are some things that Into the Deep does well, but it is ultimately too slight to really commit to any of its interesting ideas. By the time the violence between the three characters ends, one just wishes their conflict had included a bit more flair.

Though Meester puts on a solid performance atop an intriguing plot, The Weekend Away doesn't supply enough thrills to make it an entertaining watch.

In Eurovision Song Contest: The Story of Fire Saga, Ferrell's typical schtick is on full display, but wears incredibly thin in this overlong comedy.

Anaconda aims to be Bowfinger for a new generation but ends up feeling as insipid as the film it is loosely based on. Its target audience is people nostalgic for the salad days of studio blockbusters, who are righteously frustrated with executives for cashing in on material they don't understand.

If Ready or Not was a chess match, Here I Come is tic-tac-toe.

Altogether Underwater is a middling movie that spans multiple genres, from sci-fi and thriller to action and horror, and can't seem to focus on any specific one.

The concept is no doubt thought-provoking and, occasionally, even creative. But it’s hard to get behind the journey the AIs go on when it’s so detached, the film itself attempting to be a gripping narrative conveying heartfelt emotions that just don’t land.

This particular narrative is a sound idea but for a documentary instead.

Not all movies need to be action-packed, and that was never Mermaid's goal, despite what its opening, horror-themed mermaid encounter might have led one to believe. However, for a film that sets out to take viewers into the mind of a broken man clinging to his last shot at change, Mermaid does not pack the emotional punch that is needed to hook the audience all the way through.

The film is messy and gets tangled up in its protagonist’s folly, but in the process, Zac Efron delivers a heartfelt and killer performance.

Uncharted is joyless and has little to no personality.

The story has no heart, genuine romance, or humor, the spy subplot is mechanical, and the actors don’t mesh together as well as you might expect. All told, Ghosted doesn’t even meet the lowest standard for what would make a romantic comedy remotely decent and that is disappointing considering the talent involved.

When a film is trying to tell three stories at once, it’s bound to get tied up in its own narrative misgivings, and Hold Your Breath is certainly culpable of that.

Amanda Seyfried gives a nuanced performance, but A Mouthful of Air fails to go beyond the surface to engage with its themes in a meaningful way.

Breach has its moments of B- movie fun, stemming more from utterly ridiculous execution than a sincere effort to create a gripping space horror.

Home Sweet Home Alone is an unnecessary sequel that fails to revive the franchise, lacking the fun, charm, and magic of the 1990 Christmas classic.