The Man From Toronto struggles throughout the entire film to establish a consistent tone.

This is a movie that very much wants to call back to the original — and in doing so, it inadvertently reminds us of how much better the original was, and how bad this is.

Love Hurts marks the first leading role for Ke Huy Quan, and he avails himself well enough. He doesn't ever shimmer off the screen, and he doesn't handle the romance elements perfectly, but he possesses an appealing hangdog quality that feels human and relatable. However mediocre the movie around him, one always has the instinct to cheer him on.

The film — an ensemble feature whose premise rests on the challenges of shooting an aggressively bad action movie in the middle of a pandemic — succeeds in being funny.

Young does her best to carry this all on her shoulders, and while she nails her early scenes playing up Margaret's instability, she eventually gets lost among all the scenery and abundant production design. Never quite as surreal as it needs to be, The Blazing World is an exercise in dream logic that stumbles over itself again and again.

What Five Nights at Freddy's lacks in a robust story — an unexpected plot turn about halfway through feels like a genuinely bold curveball, though it's tempered somewhat by a slightly too neat-and-tidy ending — it more than makes up for with a penchant for oddball theatrics and flair.

The problem with Like a Boss is that it spends so much time being a pale imitation of other female-led comedies that it overlooks what makes the film work: Haddish and Byrne. If you just let them riff, let them live together and let the cameras roll, you would get an infinitely better movie than the middling workplace comedy that Like a Boss turns out to be.

Its premise is ridiculous, its entire appeal based on the novelty of having a bunch of Lycra-clad strangers thrust their hips at you in the dark. Hooper creates something just as bizarre with his Cats, though not as successfully electrifying. Its flashes of brilliance feel like happy accidents and its uncanny technical choices are never overcome.

Firestarter isn't offensively bad. It's not likely to make you angry, or have you calling it the worst dang thing you've ever seen. But it is aggressively average, bordering on mediocre. There's nothing fiery here. It's lukewarm at best.

Tom & Jerry is, in many ways, aiming to be a live-action cartoon. But it fails in so many basic ways of cinematic storytelling. The story is dull, the characters are single-dimensionally bland, and the performances are stiff.

Hitman’s Wife’s Bodyguard – a title, by the way, that is mostly misleading outside of a single scene where Michael serves as Sonia’s bodyguard – has a few brief moments of joy or wit. But most of those moments rely on the audience’s recognition of the all-too-famous cast (such as being delighted at seeing Banderas and Hayek share the screen once more, even with Banderas playing the bad guy). This film, even more than its surprisingly successful predecessor, is exhausting and obnoxious. A few good lines don’t save a slapdash, snarky mess.

Ultimately, "Rebel Moon" resembles little more than a grab-bag collection of world-building influences, mythology, and epic storytelling that we've seen done better many times before.

If you're looking for the gothic thrills and chills that make "Pet Sematary" so special, stick to the novel, or the '89 film, or even the 2019 remake, and leave "Bloodlines" dead and buried where it belongs. 

Artemis Fowl is not just a disappointing adaptation, it’s a badly made movie. Its Frankensteined plot and its shockingly poor CGI — which could have passed in an early 2000s movie, but not in 2020 — leave it no redeeming qualities. It gives me no joy to say that yet another movie adaptation of a beloved childhood property has wasted Colin Farrell.

Sanders' The Crow has nothing on its mind, and forgets why we should be sad and frustrated at the death and meaningless violence in the world.

Expend4bles may be the best of the series. This is not a compliment to Waugh's film, but a mere note on how badly this series of films has fared over the last 13 years. These are useless, badly written gimmick films whose gimmicks never bore fruit. As the title implies, the flick is expendable. Or perhaps expend4ble. Read More: https://www.slashfilm.com/1399641/expendables-4-review/

The Electric State is one of the most expensive films ever made, and one can see every dollar on the screen. The robots feel real, and their design, taken from Stålenhag's book, is fitfully unique. But one wonders why so much effort went into a movie that has almost nothing on its mind.

It’s a film completely devoid of energy, or atmosphere. It’s so boring at times that it’s almost impressive.

We're expected to find the Weeknd's melancholy entertaining. It isn't. Nor is Hurry Up Tomorrow. It's just awful. 

The mystery is a convoluted mess, clearly attempting to marry the intrigue of "Chinatown" with the escalating chaos of a Coen Brothers movie while failing to make things compelling, all while the wacky humor falls flat.

There’s nothing wrong with silly, even mindless action movies. There exists a whole slew of ’em that are an absolute blast to watch. But they get by on their entertainment value. There’s nothing entertaining about Infinite. It just sits there, lifeless, hoping to become a full-blown franchise with sequels galore.

It gets lost while trying to offend, and then comes to an abrupt end when it seems like the Guit brothers ran out of ideas. But maybe that's for the best.

It's an improvement simply because this trilogy started off pretty badly, but nevertheless an uninspiring survival horror with repetitive set pieces, baffling character choices, and a mythology that feels like it's erasing the very reason his franchise exists in the first place.

It's hard to know whether the challenges of making a rough-and-tumble action movie with Liam Neeson at the helm now stem from age or from making a movie like this during the pandemic. Whatever the explanation is, the result is that Blacklight is a bland way to pass 100 minutes.

Everything about Dolittle seems hastily put together — from the whiplash-inducing tonal shifts, to the potty humor, to the poor use of a star-studded cast.

Borderlands makes a point of not being different enough to upset the fanbase, but it's also not unique enough to win over new audiences, either. It's a movie for everyone and no one, a film so unwilling to make a splash that it barely makes a peep.

Madame Web does not provide a crowd-pleasing bombast. This is a pity, as this odd duck makes for a fascinating watch. This may be one of the final films of the superhero renaissance. Enjoy it before it topples over entirely. 

It's a shame that Five Nights at Freddy's 2 is such a bloated mess, because it has all of the elements to be a truly special gateway horror film franchise. The new animatronics are genuinely jaw-dropping, Megan Fox voicing Chica is a real delight, the jump scares are effective, the Easter eggs are well-placed, and for a brief moment, when we finally get Mike in the security office (essentially bringing the video game into beat-by-beat live action), the movie absolutely soars. But Cawthon's script is a disaster, and it's one that I cannot in good conscience defend, even as someone who shockingly could make sense of it, having consumed hours of fan theories over the years.

Fantasy Island is a failure on nearly every level.

"Blood and Honey" will disappoint fans of Pooh, fans of irony, and fans of horror. Don't bother.

The Pool is a bonkers blast from beginning to end. Each wave of misfortune crashes down harder than the last, pummeling a walled-in main character with sadistic spite.

For a debut to be this assured, and for a script to so deftly dance around the obvious challenges and result in a film that’s delightfully, darkly comedic, The Unknown Saint shows that despite all the obvious ways in which this work could have gone horribly, risibly wrong in these rare cases miracles can come true.

The way the filmmakers use their underwater setting is brilliant, and while there's not a whole lot of story here, they make every moment count.

Gillian Jacobs doesn't necessarily break new ground with More Than Robots, but the film is still a lovely look at some promising kids from all walks of life getting the chance to spread their wings and find a community of like-minded peers who make them feel a sense of belonging and purpose.

This is a glorified OVA (Original Video Animation) with an accelerated recap of the show and a few cute Kyo-Tohru scenes stuck on to justify the feature film designation — but the thing is, they only serve to make the whole thing weaker. Because buried in between that messy recap and nostalgia-baiting prologue scene is an imperfect adaptation of one of the best things Natsuki Takaya has written.

It's one story that provides a mere snapshot of a larger problem in the U.S. — but it's a very detailed picture, and one that humanizes the people behind the addictions.

Although Who Invited Them doesn't deliver anything new to horror, it entertainingly plays with the idea of, "What will it take this married couple to realize their relationship needs work?"

Satan's Slaves: Communion delivers another artfully accomplished and wickedly malevolent slice of Indonesian horror that returns to formula basics without sacrificing Anwar's trademarks. Maybe a bit too ambitious with its storytelling. But still righteously right-on in terms of razor-toothed horror execution.

There's something to be said about the way Sakamoto depicts how the newer Japanese generation is left to fight for success amongst themselves — misled by older handlers and governing bodies — but you're ultimately here for ha-has and beatdowns, and neither disappoints. If there was ever an action movie that'd slay at a teen girl sleepover, it's Baby Assassins 2.

Though Chuck Chuck Baby treads familiar plot beats and offers little surprise, it's something of a feat to turn such familiar British film territory into something prominently LGBT+. Its innate understanding of queerness and female bonds allows the lesbian relationship to never feel like window dressing.

Wake Up makes its impression like a candy bar with a razor blade at its core. It's a sweet little treat for action-horror fans that hurts so good, as long as you're in the mood for visually traumatic, hopeless vibes.

This may not be the film fans expected, but it is still a worthy addition to the Digimon franchise.

As a whole, Lovely, Dark, and Deep starts to feel like a short film (or story) stretched to feature length. I was on board with the movie's various chills, but I wanted something more.