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.