Crimes of the Future has an intriguing enough setup, but it doesn’t know how to tie everything together, leaving the disparate pieces of the plot adrift and turning the film into a tedious watch.

A surprisingly bland film that somehow manages to dampen even Glen Powell's usual brand of effortless charm, How to Make a Killing is sketched together with thin characterizations, limp commentary and a sluggish pace.

Reliant on specific political clichés and a twist the audience will see coming from a mile away, Without Remorse is utterly bland and devoid of moxie.

While there's an attempt to convey a message about relationships, We Broke Up is more focused on awkward shenanigans than in exploring its characters.

There is nothing remarkable or special about Blacklight — it's fairly empty, a boilerplate series of dialogue, action, dialogue. However, it is fun to witness Neeson do what he does so well and lose oneself in the thrilling familiarity of hand-to-hand combat and shootouts.

The problem is one of focus, and had the movie trusted its protagonist enough to let her be the true center, it might have provided a viewing experience worth recommending.

Disney's Stargirl is a mediocre teen movie about individuality and growing up, lacking the magic to make this manic pixie dream girl story work.

Love Wedding Repeat is too cringey to be any fun and fails to deliver on its premise of multiple alternate timelines.

Paw Patrol has enough action to keep young fans entertained, but parents will likely be bored by the dragging pace and convoluted plot.

Just when it feels like it's going to hit the gas, The Wizard of the Kremlin holds back, all the way up to its confounding, out-of-left-field ending that is both abrupt and fittingly bleak.

The Becomers could have achieved more, but it's a movie that struggles with definitions, relationships, politics, and just about everything else it attempts to authoritatively establish itself as.

The drama feels undercooked, and the characters barely escape one-dimensionality.

A movie that means well, looks solid and is brimming with acting talent, but has neither the script nor the soul to bring home the bacon.

Writer-director Simon Hacker has a good grasp on his characters and story, but while Notice to Quit has a spark, it lacks any true heartwarming moments, which are buried beneath a surface-level premise that refuses to engage with vulnerability.

Some adaptations, it seems, are far less equal than others.

If one is wanting something substantive, with big laughs and surprising twists, Murder Mystery 2 should be avoided at all costs.

Prisoner's Daughter may boast a stellar cast, but the movie is fraught with anxious and unrealistic characters, a terribly misaligned script, and a redemption story that hangs on by a fraying thread.

The Beach House has some suitably creepy moments, but it's ultimately hamstrung by an underdeveloped script that fails to connect with the audience.

The script is caught between wanting to be a full-blown horror movie and wanting to be a tense psychological thriller.

Despite being a story about a world full of imagination and incredible adventures, the narrative moves slowly, hoping to succeed thanks to the animation.

Much like The Mother, Trigger Warner is all setup with little payoff. The emotional sentiments are effective but drawn out in uninteresting ways, and Alba, a capable actress, is not nearly as charismatic as the middling script requires her to be.

Though it's an often beautiful showcase for the Arabian desert landscape, Desert Warrior is a slow, awkward jumble, trying so hard to be cool and lacking any of the style or charisma to pull it off. The climactic battle has some redeeming qualities, but after waiting 90 minutes to see it and finding it so choppily edited as to be distracting, the prevailing feeling I carried with me after it ended was still disappointment.

Netflix's Work It is bogged down by its trite and wholly unoriginal underdog story, but its charismatic young leads help the movie limp to the end.

DeVine is entertaining enough, and the gag of watching Bronson and Barkin playing cool criminals can intrigue just about anyone. For all its flaws, The Out-Laws will win over those who flock to Happy Madison’s movies time after time, even if you'll promptly forget what you have watched.

Worldbreaker has the skeletal framework of a great dystopian thriller, but never progresses beyond surface-level worldbuilding. Even so, it effectively captures the resilience of a family that doggedly battles the odds for survival in a world teeming with chaos.

Croke's script seems content with delivering reality-questioning thrills rather than offering anything meaningful to keep audiences thinking beyond the movie's 90-minute runtime, or even within it.

The Flash is a passable multiverse superhero movie, but no amount of DC cameos can make audiences forget the awful off-screen actions of Ezra Miller.

It's a run-of-the-mill crime drama that doesn't stand out.

The film's best attribute is the romance between Bruce and Faye. White and Young's chemistry is palpable, and Cooper solidly helps us understand why an artist on the verge of overwhelming fame might be interested in a working-class single mother, whose planted smile belies the pain of someone abandoned and bereft. There's a nuance here that the rest of the film sorely lacks and needs.

A genuinely gritty premise paired with a 90-minute runtime is typically a recipe for success, but The Last Son never becomes the movie it's capable of being.

Johnson and Hart have proved a formidable movie duo in the past, but without their usual on-screen charm, it's tough to get invested in the stories of Krypto and Ace. Even with their star-power and a slew of talented performers making up the supporting cast, DC League of Super-Pets doesn't offer much.

Trail of Vengeance is undermined by the fact that a feminist Western cannot succeed without women having meaningful influence behind the scenes. What we are left with is a film that is a hollow imitation of a much-loved genre.

The Kissing Booth 3 is overstuffed and overcomplicated, but provides some shallow summer fun as the final chapter to Netflix's teen rom-com trilogy.

Sing 2 doesn’t offer enough originality to truly make it stand out, though those who got a kick out of the first movie will find plenty to love.

Sharp Stick is charming thanks to great performances, but the lopsided script doesn’t reach its full potential.

Last Days is as frustrating to watch as it is to try to understand this avoidable tragedy.

It is easy to see the potential in the first act, but Purple Hearts leans too much into over-sentimentality, with narrative tricks designed to trigger tears and subdue thinking.

For families and kids who don't mind watching a predictable formula being followed mostly adequately (which is a pleasure in and of itself, if the genre suits you), they could do much worse than Dora and the Search for Sol Dorado.

With thin character work and a familiar story surrounding it, the movie ultimately proves more disposable than enjoyable.

There are bound to be viewers less familiar with the source material who are enchanted by Persuasion. However, the modern touches are just too persistent to ignore, and they take away something that the movie urgently needed — genuine depth.

Cat Person is not as compelling as it perhaps aims to be and, though there are great — and even uncomfortable — moments in the film, it doesn’t justify its tonal shifts or its feature length.

It’s meant to shock and disgust — and it does — but while Infinity Pool starts off interestingly enough, its take on power, corruption, and privilege only goes so far.

Year of the Fox is a movie far too marred by its narrative missteps to fully embrace its better parts. The dialogue becomes increasingly predictable and mind-numbing, which makes for a very misguided effort.

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.