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.

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.

Asking For It is a pop-rock take on the revenge thriller that tries to take a stance, but fails to make a case for why it exists. Asking For It often feels like a mansplaining version of what a modern revenge thriller should be.

The rom-com idea was solid, strong actors like Hale delivered, and chemistry between the leads was there. This can go a decent part of the way, but without more character development, direction, and a clear focus for the film, it's hard to offer much in terms of praise.

Sadly, Dig has little to offer audiences other than its magnificent soundtrack.

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.

Deep in the Forest certainly has a point of view, but it is ultimately a meandering slog.

Despite its potential, A House on the Bayou has nothing new or interesting to offer, with the final twist further undoing the film's scattered charm.

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

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.

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.

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.

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.

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

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.

Despite featuring a few well-executed, tense gore sequences towards the end, Smiley Face Killers is mostly uninspiring and makes for a tedious watch.

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.

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.

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

Unlike the comedy, Ungar does know how to shoot action decently well, and it's in those scenes when the film momentarily comes alive.

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.

This shocking horror comedy is a train wreck that you can’t look away from. Whether the filmmakers intended this to be the case is a question on its own, but I’m sure Krazy House will acquire a following.

Die in a Gunfight is utterly empty, with poorly developed characters, clunky dialogue, and a disingenuous romance that attempts to be epic in nature.

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.

On a Wing and a Prayer will certainly find its audience and pays respect to a man who did the impossible, but as a viewing experience, it misses the mark at every turn.

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

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

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.

Perhaps if Death of a Telemarketer were 30 minutes shorter, it could’ve made an improvement on its already-threadbare and mirthless plot.

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.

Lacking narratorial depth, convincing characters, and a plausible storyline, Curse of the Blind Dead utterly fails the original tetralogy on all ends.

As it stands, Mundy's earnest but by-the-numbers approach to already lackluster material leaves the movie devoid of any sign of passion or creative spark.

This film has everything that makes a disaster film as an actual film disaster. With unconvincing effects, bland performances and a convoluted story, When Time Ran Out… is a dud, critically and financially.

Lumina is an impressively incoherent film.

I was mildly intrigued by the plot progression in The Other, but it did not redeem itself from a thematic perspective.

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.

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

From start to finish, the movie feels like a half-baked idea which never had time to be refined or improved.

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

The twist is sufficiently tragic, but it is also mawkish. The structure is misguided.

The creepy imagery in the first act improperly sells just how dull the movie ultimately ends up being for the majority of its overlong runtime, and while its snail-like pacing and lackluster acting fail to make its psychological themes land with anything more than a mute thud.

Bull Run is so devoid of substance that much of it is taped together with ironic usage of stock photos and archival footage, as if to constantly point at the vapidity of its own enterprise.

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

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

Borrego, written and directed by Jesse Harris, is misguided and fails to be thought-provoking or contemplative on the matters it seems to be about.

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

Unfortunately, the film lacks any style, substance, or suspense despite a killer performance from Tom Pelphrey.

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

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.

Wire Room is a crooked cop action drama that plays out like a low-budget, straight-to-VHS schlock from decades past

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.

The Changed is a poorly-executed alien invasion riff-off, bereft of any sci-fi elements worth delving into or relatable characters worth rooting for.

Too little attention is granted to Apex’s world-building, and the sci-fi aspect of the film seems more of an afterthought rather than an active factor, making the film a terrible, mediocre letdown.

If the lazy scripting and oversaturation of identical scenes were not enough, Blackwater Lane also lacks any sense of novelty.

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

Johnny & Clyde is a chaotic, unamusing mess.

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

The only thing Harlin has done here is to remove the element of surprise. Without that, the film is nothing, nothing at all.