All of this is very silly, but there's nothing wrong with that! In fact, Hypnotic would be a lot better off if it learned to lean into that silliness. Instead, Rodriguez keeps everything very dour, and while he injects some life here and there via action beats (the bank robbery scene is quite well-staged, as are several chase sequences), the filmmaker can never really get "Hypnotic" working.

The Monkey is a blood-soaked barrel of laughs and grisly kills that never finds an effective way to reconcile either of those.

Some may get a kick out of how over-the-top and pulpy Shadow in the Cloud is, but what’s on display here is so abrasive and so bombastic that it begins to sap the life out of you, ultimately leaving a bad taste in your mouth when all is said and done.

Queenpins boasts a cast of talented ringers, who elevate the muddled material far more than it deserves, without actually resulting in an all-around good movie.

The Rip does give us a handful of scenes where Damon and Affleck's characters bro out, but these are brief flashes of light in a sea of darkness. I'm all for dark and gritty crime dramas, but "The Rip" never feels like much of a movie, more like a pilot for a new, particularly violent "Law & Order" spin-off. Matt Damon and Ben Affleck are movie stars, why hire them for anything less?

Sure, it's a lot of fun watching beautiful assassin Ana de Armas pick up a flamethrower and burn some dudes to a crisp, but a film featuring such an exciting concept shouldn't be this forgettable.

Marry Me feels like a satirical movie that missed the joke. It doesn't have a plot as much as a collection of rom-com tropes — Fake marriage! Reverse "Notting Hill"! Evil exes! School mathalons? — and is strung together by the whisper of a narrative structure. But while "Marry Me" is silly, poorly made, and inarguably a bad movie, I had dumb fun.

A somewhat ambitious but messy and ultimately unsatisfying sequel, despite packing some decent laughs and a couple of genuinely exhilarating sequences.

There's a place for brainless, R-rated action movies like this in theaters, and there always will be. But, hopefully, it's not asking too much for one that properly justifies the average moviegoer's time and hard-earned money.

There's nothing offensively bad about The Alto Knights ... but you kind of wish there was, because at least that might've made the movie more interesting.

The Forever Purge is at its best when it’s attempting to subvert the standard formula.

Those looking for the next "The Sixth Sense" will inevitably come away disappointed (though, contrary to popular belief, that wasn't M. Night's actual debut film either). But as a bold announcement that the next evolution of the Shyamalan name is upon us, Ishana leaves plenty of reason to believe that the best is still ahead of us.

What The Pod Generation lacks in cohesion it (mostly) makes up for in laughs.

The end result is a slow-burn romantic thriller that's so slow it doesn't really seem to go anywhere.

As charismatic as its stars are, and as refreshing as its period setting is, the wildly inconsistent tone and overstuffed runtime loses whatever was left of the shine of the first "Kingsman."

For all the areas where it doesn't quite work, however, there's no argument that They Cloned Tyrone digs into important topics and inequities, and sheds light on people who deserve to get more attention. It's also a bold film that takes big swings.

If "Cat Person" could just strip away all the nonsense and instead focus on its more realistic, genuine elements, it would be something special. Instead, it ends up being a mildly amusing mixed bag. 

Once upon a time, a movie of this ilk could be unremarkable but fun; sturdy and dependable; solid, even. Not this time, though. 

Onward is a decent, well-paced, well-animated, moderately enjoyable film. It’s got a good message, an emotional third act, and some pleasantly surprising jokes. Onward is…OK. The problem with Onward is that Pixar’s original films are incredible. OK is, simply, just not good enough.

It's all appropriately eerie and off-putting, but never quite as satisfying as it should be. Watching Watcher isn't a complete disappointment, but it sure would be nice if there was just a little more to look at.

Unfortunately, The Love Birds just isn’t that funny. Don’t get me wrong – Nanjiani and Rae are funny, and they try really hard to make this material pop. But the jokes fall flat more often than not, and the direction from Michael Showalter (who also directed Nanjiani in The Big Sick) is oddly lax, with scene after scene embracing the unstylish “point and shoot” approach.

Sony, still possessing the film rights to Spider-Man, decided to make an interconnected Spider-Man Villain universe, of which "Kraven the Hunter" is the final chapter. Watching Chandor's film, though, one can see that neither the studio nor the filmmakers are interested in starting anything anymore. There is no presumption that fans will be interested in long-form mythmaking, and sequel teases remain light. This allows "Kraven" to be stupid on its own. And, in a weird way, that's a relief. We're free.

Awkwardness ends up being the name of the game here, with Eisenberg constructing an intentional cringefest; the type of movie that has you squirming uncomfortably as you're forced to watch oblivious characters make total asses of themselves.

Rather than adding something fresh and new to give us a reason to reinvest in this universe, the end result is as by-the-numbers as it gets.

Spirit Untamed is inoffensive, which both makes it far more tolerable than most other DreamWorks Animation titles and also not terribly good in and of itself.

For all the storylines it juggles — part love story, part franchise extension, and part treatise on how mind-numbingly awful group projects in class can be (seriously, this early section might actually be the highlight of the movie) — The Ballad of Songbirds and Snakes feels caught between its humbler, more character-driven aims and the blockbuster expectations of reinvigorating a brand.

The very idea of a biopic about a guy who claimed to invent a hot Cheeto feels like a gag, but it could've sidestepped all of that by avoiding the usual biopic cliches. But Flamin' Hot leans into them with an aggressiveness that makes "Bohemian Rhapsody" look like "I'm Not There." It would be insulting if it wasn't so tired.

And to cap it all off, Mortal Kombat commits the sin that so many recent Hollywood adaptations of existing properties make these days – it’s all set up. Everything that happens here can be written off as exposition laying the groundwork for a sequel, where the real kombat can begin. It’s a ruse; a come-on; a side-show with a very loud barker out front. “We can’t show you that stuff just yet, but come back next time and we might!” The thing is, we’re all suckers enough to probably fall for it.