Thanks to the efforts of the talented filmmakers and the committed performances by the all-in cast, there are some undeniably spooky moments. But you have to sit through an awful lot of tedium to get to them.

Despite its serious subject matter, Mob Town assumes an oddly comic tone for much of its running time, coming across almost like a spoof at times. Unfortunately, nothing in it is particularly funny, and the deadly pacing makes the movie seem much longer than it is.

If this were the feature-length pilot episode for some cheap reboot on a streaming service — which is what it feels like — a generous viewer might half-heartedly agree to tune in next week and see if things get more interesting. But on the big screen? A sequel would be less welcome than a new episode of, say, Charlie's Angels. Or Starsky & Hutch.

Far stronger on atmosphere than actual suspense, Grand Isle plods along in tedious fashion, not helped by its awkward framing device that gives it the feel of a Southern fried police procedural.

Ploddingly paced (it runs nearly 20 minutes longer than the 1977 film, to detrimental effect), poorly scripted and featuring largely amateurish performances and cheesy special effects, this Rabid strives to emulate the striking body horror of the original but mainly comes across like a half-baked imitation.

For all its admirable intentions and the terrific performances by its talented ensemble, Inherit the Viper fails to have any genuine impact. Neither weighty enough to satisfyingly explore its themes nor sufficiently suspenseful to work as a straightforward thriller, the film proves dramatically inert.

Unfortunately, despite his obvious passion for the genre, Luke doesn't yet have the cinematic chops (or clearly, the budget) to effectively put his vision onscreen.

The most likely reaction among all but the most undiscerning to Santa Fake will be "Bah, humbug!"

Despite the frequent use of graphics and animation to help alleviate the tedium of numerous talking heads (we hear from several other scientists as well), the film fails to makes its significant points accessible.

Despite its talented, overqualified cast, Lazy Susan simply feels like a mistake.

Despite the best efforts of the talented lead performers and an overqualified supporting cast, this is a movie for which you should practice social distancing.

The filmmakers are clearly hoping that Patterson's name will be enough to attract moviegoers, but this misbegotten effort only serves to further tarnish a cinematic brand already diminished by 2012's Tyler Perry-starrer Alex Cross.

Unfortunately, despite its uncomfortable resonance, Beneath Us barely scratches the surface of its provocative ideas, sacrificing nuance in favor of cheap shocks.

Making a film that feels two days long is not the same thing as making 48 Hrs.

Less outrageous or provocative than puzzling, it will appeal to a very specific sort of irony-hungry moviegoer and leave most others shrugging.

Shot inconsistently in the series’ mockumentary style, which often finds the characters delivering direct addresses to an unseen camera crew, the relentlessly tedious film is devoid of laughs.

Even with locked-down consumers scraping the bottom of the Netflix content trough, this new addition to the lineup is pretty dreary.

Suffers mightily from its limited budget and narrative scope.

The compendium of clichés might have been more palatable if the lead characters were more sympathetic, but it's hard to connect to Arielle's relentless need for attention and the utter stupidity that ultimately has tragic repercussions.

The overall effect is frustrating, because the performances are generally solid (Breaux delivers a strikingly intense turn as the obsessed Nick) and one can sense the intriguing kernel of an idea that could have proved more successful if the execution had been less tenuous.

A poorly imagined crime flick that comes nowhere near justifying its 2.5-hour running time.

Using the Desperate Hours template that has fueled countless thrillers since, Survive the Night is a particularly forgettable example of a tired subgenre that, like so many of Willis' recent efforts, squanders his still estimable movie-star charisma.

The performances here are bloodless, the pacing listless, the dialogue witless almost to the point of deadpan parody.

A dispiriting film that has languished on the shelf since 2014, it stars Dakota Fanning but is likely being released now with the hope that small appearances by Evan Rachel Wood and Zoe Kravitz will add commercial appeal. Fans of the latter thesps will likely feel cheated.

Tim Story's Tom & Jerry is five to ten minutes of action that might have worked in one of the cartoon duo's shorts, surrounded by an inordinate amount of unimaginative, unfunny human-based conflict.

As recently as last year's "Motherless Brooklyn," Willis has proven that, when he feels like it, he's capable of giving interesting performances. Although no one begrudges him a decent living, it's frustrating that he seems to be settling for such low-rent VOD Steven Seagal/John Travolta-style vehicles at this point in his career.

Design values and Conrad W. Hall's photography are as flatly unimaginative as the rest of the film, which, in its avoidance of distinguishing features, would make a better candidate for witness-relocation anonymity than Margot does.

Emperor has difficulty mustering a seriousness to match its subject.