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.

Any one of the stories in A Sacrifice would be worthwhile to follow, but as it were, we only get a taste of each, and it's just not enough to make the ending satisfying. What is portrayed as horrific and tragic becomes melodramatic and arbitrary.

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.