I don't fault Meg 2: The Trench for being silly. I do fault it for being boring. 

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

Kendrick and Timberlake are…fine, as they were in the first film. What holds Trolls World Tour back is what holds back so many films from DreamWorks Animation: they thrive on pop-culture references, loud humor, and little else.

Giving a movie marks for not being as bad as possible is the same as giving someone a participation award. Could this have been worse? Of course, which also means it could have been a hell of a lot better. Maybe with a different director. Maybe with faster pacing.

There's a difference between intentionally misleading the audience and cleverly setting up, then subverting, expectations. Ultimately, "Monstrous" does the former, leaning far too heavily on expository dialogue that fundamentally contradicts everything the audience is seeing.

As a movie, It Ends With Us is an infuriating, emotionally manipulative watch and a disservice to the talents of every actor involved.

Blitz Bazawule and a cast of talented performers do their best, but the end result just doesn't gel.

In its desperate attempt to satisfy everyone, "The Mandalorian and Grogu" neglects to tell a meaningful tale worth anyone's time. Instead of the pulpy, thrill-a-minute adventure that was promised, "Star Wars" has never felt duller or more mundane. This ain't the way, folks.

A movie like Elf, as its opening credits suggest, seemingly sprung to life out of a children's book. Spirited evokes the sense that it sprung to life out of a series of focus-group sessions among corporate executives.

Maybe if there wound up being a second animated film featuring Scooby and Shaggy, it might actually tell a story where they solve a supernatural mystery with their friends in the Mystery Machine. For now, all we have is this forgettable, lazy, pandering superhero film.

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.

Thunder Force has too good of a core idea to be left so unexplored. Melissa McCarty can’t be stopped, but she continues to be content making films that leave her talent frustratingly untapped.

Worst of all, these final moments of the film make it abundantly clear that as a storyteller and a filmmaker, McKay has absolutely nothing to say about the topics he's skewering, and he shouldn't have even bothered to try. This is a hollow waste of time and talent; a comedy whose idea of humor is simply pointing a finger at something and chuckling obnoxiously. We, as a society, don't just deserve better leaders. We deserve better satire, too.

No one will ever accuse Vin Diesel of having range, but he seems particularly lost here. There’s nothing remotely interesting about Ray, before and after he gets his robo-blood.

The Super Mario Bros. Movie brings together the many recognizable characters of the franchise, the musical flourishes, the colorful design, and even some replication of familiar gameplay, into a brisk 90-minute package that is as critic-proof as it is largely uninspiring.

Hidden somewhere in Immaculate is a stirring and topical drama about the way male-driven religious institutions claim ownership over women's bodies.

Nothing takes flight here. Bird Box Barcelona might be the first of its kind, but it certainly will not be the last Netflix sequel or spinoff whose primary audience is a boardroom rather than a living room.

The Lie probably could’ve worked in a shorter form – a half-hour episode of a TV show, perhaps.

Amsterdam indeed has a number of charming scenes, a stunningly top-tier cast, and flawless cinematography. At the same time, it also fails to balance its wildly fluctuating tones, it rests its central narrative on plot contrivances, and the sum total of these shortcomings impedes the ability of its excellent performers to land the film. As a whole, Amsterdam is a movie that finds itself decidedly less than the sum of its parts.

The film is so humourless that it becomes tiresome. That might be forgivable if the movie managed to be scary, but not even one or two jump scares are enough to get your heart rate up.

Despite the mostly younger cast, Without Remorse is a bland throwback to the late 1980s and early 1990s, hearkening to an era of such simplistic notions of good and bad that its script could have been unearthed from a time capsule. Sollima’s direction is journeyman-like, which wouldn’t be a demerit if the film he was directing didn’t feel so lifeless.

Morbius is the type of movie that fails to justify its own existence.

Evil Eye deserves acknowledgment for taking a supernatural approach that involves cultures beyond Western trappings (there are countless horror movies that use American-centric Catholicism as their guide, for instance), but that’s about the only positive thing I can say here.

Worst of all, the film is loooong. It's not just low-energy. It drags. One could listen to Pink Floyd's "Dark Side of the Moon" three and a half times in the same 161 minutes. And perhaps one should. It would be a more edifying musical experience.

The worst sin a martial arts movie can commit is not properly showing its action. The second sin is casting martial arts superstars and not letting them fight. On both counts, the extraordinarily limp G.I. Joe reboot Snake Eyes is guilty.

After the original "Fear Street" trilogy, I was itching to return to Shadyside. It was not worth the wait.

Other than a few inventive sequences around the film’s central conceit of “the Noise,” Chaos Walking is a grim retread of the YA dystopian story that offers nothing else but a misguided attempt to elevate the genre through a darker, more “adult” tone. It ends up being little more than a joyless exercise with bad wigs.

In the end, Gran Turismo can't escape the feeling of being actively held back at every turn — by the confines of video game conventions, by a painfully trope-laden script, or simply by the fact that everything this video game movie wants to achieve has already been done better before.