Before I Fall makes a simple plot into this convoluted, aggravating mess of emotional turmoil that lacks a shocking amount of direction.

Falling despairingly into the franchise trap of meta-irony, Sonic the Hedgehog 3 will be remembered as an attempt of self-sabotage.

An average, predictable script is rescued from being truly irredeemable by an excellent cast of voice actors and a few bright jokes.

The Dead Don't Die is a procedurally bland zomcom with little genre personality, playing as if Jarmusch invents a subgenre horror fans haven't been watching for decades.

Unfriended: Dark Web takes all the most engaging and horrifying techno-horror qualities from Unfriended and wipes the cache disappointingly clean.

Keeping in mind that the mantra of Clerks III is to live your life with the knowledge that it is precious, don’t waste it watching Clerks III.

3 From Hell is an ugly example of too much wicked style over zero intended substance.

Black Christmas deserves to be a better slasher satire propelled by empowerment than the messy, tonally obstructed holiday dud we're gifted.

This culture clash comedy is a car crash only John Cena survives.

Stagnant, contrived, and oh so boring, The Promise is nothing but a perfectly good waste of Christian Bale and Oscar Isaac’s towering abilities.

Resident Evil: The Final Chapter proves that there's nothing left in the tank of this grossly nondescript zombie-shootin' franchise.

Unless you are resolutely, shamelessly committed to the exact same palate and moodboard as Costner himself, this first entry in the 'Horizon: An American Saga' series is a death sentence.

There’s just enough cleverness in Escape Room to enjoy that this bad-horror-movie experience becomes more discouraging than droll.

A discordant Frankenstein's monster of a film in its own right, 'Lisa Frankenstein' certainly acts like it's interested in doing something, but it doesn't seem to have the first clue on what that something is.

You Should Have Left is a perfect example of how "forgettable" horror cinema is somehow more tedious than something that goes out in a blaze of failed ambition.

We might as well let AI make the soulless nostalgia fare at this point; you'd get roughly the same result as 'Ghostbusters: Frozen Empire,' and that $100 million budget could have been spent on movies worth spending it on.

Much like its central characters, Nerdland is a dismal, unfunny failure, wasting all its potential and entirely unaware that it is every bit as stupid as the stupid people it so despises.

Unforgettable is a "How Not To" guide for romantic thrillers, passionless and without tension when it comes to the conflict at hand.

Brimstone is undeniably idiosyncratic, but it’s also an unpleasant, dull and indigestible film.

Army Of One is a waste of talent across the board.

Persuasion is a disastrously misguided Jane Austen adaptation that condescends, talks down to, and tries to hand-hold its audience at every turn.

Boarding the long-steamless train of the infamous SSU, Venom: The Last Dance spreads the franchise's desperate joylessness to a nauseating degree.

There are two movies here, neither of which are given a chance to develop into something worthwhile.

Positioned as a quirky antidote to Hollywood wedding comedies, the awkward, tonally inconsistent Table 19 ultimately turns out to be more of the same.

Perhaps the most egregious aspect of Sandy Wexler isn’t its bland or annoying characters, its cookie-cutter story or even the same cheap physical comedy Sandler had become known for. No, the biggest problem very well may be its 1990s setting.

From the opening scene, 'Flight Risk's dreary tedium makes a mission out of turning viewers into flight risks in their own right.

One can say that Faulkner is unfilmable, but any work will be unfilmable when it is being adapted by a talentless director. In this case, the fault of the film’s issues stem completely from Franco and not at all with the difficulty in Faulkner’s writing. Hopefully, after two failed outings, the actor will learn to leave Faulkner’s masterful work alone. Although knowing him, I wouldn’t be surprised to see him try his hand at adapting one of the author’s works again.

Much like the AI we know in the real world, 'Atlas' is unable to turn its wealth of potential into much of anything worth engaging with.