Vice smooshes a bunch of metaphors together, none of which are particularly illuminating.

With a lack of humor and deadly exposition, Morbius propels itself into an absolutely wild third act, perhaps the unintentionally silliest finish I’ve seen this year.

With all of its missteps and murky intentions, Back to Black might just be the tipping point in a prevalent conversation about the function of musical biopics and what we should demand from them.

Bright pulls off the uncommon (and not at all admirable) hat trick of being confusing, boring, and vaguely insulting about the matters it wants to appear smart on. The movie is a case of reading the room very wrongly, then slapping a lot of violence and muddled mythology on top as a means of distraction.

It’s hard to overstate just how bad Netflix’s Persuasion is, and in how many ways.

Gemini Man is a demo reel for some fancy new movie technology, an EPCOT attraction dressed up as an action flick.

Whatever your opinion of the book, the movie is a different animal, and a startlingly terrible one.

The worst thing about Life Itself is how it can’t realize that it’s limited by its own point-of-view. It harps on the idea of unreliable narrators in literature, without seeming to understand either how the device is used or how it works or how literary critics have approached that idea throughout time.

Watching The Snowman keeps you so thoroughly occupied with trying to figure out why the movie itself exists that all other questions become irrelevant.

Like all ghastly failures, The Happytime Murders is not “so bad it’s good.” It’s just bad: a boring flop, an unfunny comedy where nothing’s at stake.

Even though no movie that lends itself to individually tailored special effects should be a royal snoozefest, it’s 2017 and everything is awful, and so, too, is Geostorm, a disaster movie without a disaster and an apocalypse flick lacking the apocalypse.

While its nightmare visuals are stellar, the real villain of the movie is its rotten writing, which turns Hellboy into hanging action sequences loosely stitched together by two or three sentences and a vague suggestion of a narrative.