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.