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.

Lucky Strike is simultaneously so familiar and so off that it sometimes feels like WW2 movie cosplay. While watching, I thought often about how that is essentially what all period filmmaking is – anyone who's ever seen an unofficial set photo will know what I'm talking about – but whatever movie magic that usually gets us to suspend our disbelief is just totally absent here. Aside from the intellectual curiosity of trying to diagnose that, the viewing experience is fairly dull.

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.

Netflix's new movie is no shoddy disaster – it's a competently, if unexceptionally, mounted production by director Thea Sharrock, featuring an impressive British and Irish cast. It's not entirely without laughs, either. But this story of a chauvinist who bumps his head and wakes up in a world where women are in charge is so fundamentally misguided that I at times could not believe I was actually watching it. A comedy sketch premise stretched to feature length, the team behind Ladies First should have spent a little less time on thinking up gender-flipped jokes and more time wondering whether they actually had a coherent story worth telling.

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.