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?"

Everything feels so sterile, filmed under cold, harsh lights. It’s one of the most horror-free horror movies in recent memory. Maybe Blomkamp should give sci-fi another shot.

My Policeman is a pretty flat adaptation as far as adaptations go, and despite some great elements in the film overall, Grandage's theatrical flair and passion doesn't show up anywhere in this movie, giving the picture an almost cookie-cutter feel to it in a way that comes off as strangely commercial.

I found myself annoyed that such a fresh new take on Dracula, and from Nic Cage no less, is wasted on such a lousy movie. Nicolas Cage's Dracula deserves a better movie, and so do we.

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.

Halloween Ends settles the series' score, but it does so in a way that lacks a central logic and that spends an inordinate amount of time on things that fail to matter.

As a self-contained and satisfying yarn, this initial attempt at original franchise-building leaves a whole lot to be desired. As the most expensive feature-length trailer ever made, "Horizon" sets the stage for a much more interesting sequel where, hopefully, something of import actually happens.

Seven Veils feels like Egoyan struggling under his own expectations, just like Jeanine begins to crumble under hers.

Taken on its own merits, The Marvels is little more than another mediocre, easily-forgotten effort in a never-ending stream of products.

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.

And yet, The Final Reckoning is too messy, too awkward, too clumsy. It somehow feels overlong and inert even as it never slows down.

In the end, watching Pain Hustlers is about as numbing an experience as being prescribed the drug Liza spent her career selling.

Those craving some gloomy, unforgiving post-apocalyptic drama might get a kick out of what's on display here. Everyone else might want to scurry away. You know, like a crab in the dark.

There are bursts of inspiration here and there, such as when the plot shifts to Peru and suddenly takes on an "Indiana Jones" flavor (which, annoyingly, the characters can't help but comment upon) or when an early horror-tinged sequence puts a new spin on the famous "Raptors in the kitchen" scene from "Jurassic Park." But such joys don't arrive consistently enough to make this venture worthwhile.

Sing 2 feels like a relic from another era. And oddly, a relic that really wants to sell you on U2 songs.

And that, perhaps, is the real fatal flaw of "Guardians of the Galaxy Vol. 3." Gunn's first two movies felt different. They stood out from the pack and had their own unique personality. But "Vol. 3" feels like more of the same. I'm not suggesting Gunn and company are phoning it in this time around, but it certainly feels like the magic has faded. Whatever alchemy the filmmaker worked to make the first two "Guardians" movies memorable has evaporated into the ether.

while the action cranks up in the final half-hour, it's shot in such an incoherent manner that it renders the entire endeavor rather impotent. And by the time the film's confusing finale arrives, we're left with only one real question: "That's it?"

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.

Where previous wartime productions that Hanks helped spearhead had the grit, suspense, and complex characterization that defines great modern drama, Greyhound is a stripped-down touring production with an unexpectedly recognizable lead. It’s a serviceable way to spend 90 minutes, but serviceable isn’t saying much.

Followers of Carax will be warmed by his return if a little disappointed it doesn’t quite recapture the magic, while fans of Sparks (many newly minted thanks to Wright) may appreciate the foray into a different outlet for their art. For those of us open to the experience but without a baked-in attitude to love this sight unseen, Annette proves to be a deeply flawed picture that still has many moments to recommend it.

The overstuffed "Despicable Me 4" abandons any pretense of caring about characters or narrative, choosing instead to fit in as many gags, characters, and little stories with as little consequences as they can.

There are moments of dread and tension, and as the narrative wears on it goes to some commendably weird places. But by then it's too little too late, and the movie ends with us wishing that the characters really had done something — anything, really.

While Clouds absolutely has its heart in the right place, that heart doesn’t translate into a similarly winning story.

There is a great deal missing from Ritchie's film. "The Covenant" is almost aggressive in its complete lack of wartime litigation. While the harrowing nature of a soldier's experience is laid bare, the meaning of the actual, prolonged quagmire of the Afghanistan occupation will be lingering in the back of most audience's minds.

Uncharted has fun moments . . . but its overreliance on unfunny quips and uninspired retreads of the action-adventure genre makes it another disappointing non-MCU outing for Holland, and another spiritless adaptation of a beloved video game.

But when the smoke of its bombastic climax clears, what we're left with is an oddly sanitized, toned-down, and somewhat misshapen addition to Ritchie's oeuvre.

Yes, it could’ve been worse. But as daring as this film’s costumes are, and as fun as Stone and Thompson (and Hauser and Fry, to be fair) can be, it can’t help but give into its lazier instincts.

You can drop Nic Cage in your dull movie all you want, but when you do, you're only getting a memorable Cage performance in an otherwise unmemorable story. I love to watch Cage work. I just wish I didn't have to watch him work under these conditions.