It’s way too long and ends up feeling like a chore to get through. Furthermore, the raunchy shock-value humor leaves your memory as soon as it enters, actors go grossly under-utilized and the title character fails to live up to his name. Quite frankly, he’s just a bummer to be around.

True Memoirs Of An International Assassin scores a few lucky shots, but ultimately overstays its welcome.

Your enjoyment of Child's Play will depend on if "Chucky 2.0" is funny enough for your horror comedy tastes, because without investment in Kaslan's "Buddi," there's not much to appreciate beyond a few gnarly slasher deaths.

The Last Voyage of the Demeter makes a decent attempt at reinventing the Dracula mythos, but foregoing the early tension in favor of all-out action proves to be its undoing in the end.

Saturday Night plays with the sharp erraticism of an improv comedian's neurons, but it quite simply doesn't believe in itself the way Lorne did about the film's subject.

Feig, who’s been known to conjure up categorical spoofs (Spy, Bridesmaids), throws up Fincher-like curveballs, each one more disturbing than the last, only to strike out in the ninth.

Ben Browder's follow-up to Bad Kids Go To Hell is less stylized and more generic, even with the same private-school mean streak.

Despite gorgeous cinematography and a strong cast, The Lost City of Z is a shallow and overly romantic film that falls into the trap of hero worship.

Winstead is nothing short of fantastic in terms of both her physical and performative presence, but she could have really used a meatier journey to sink her teeth into.

The Invitation aims high, and while it's regularly impressive on a visual and aesthetic level, the storytelling lets the Gothic horror down in the end.

Girls Lost fills the magical realism, gender dysphoria, Swedish indie teen drama-shaped hole in your life. It's just a damn shame it all falls apart in the final act.

Tried, tested, and uninspiring - this four way relationship drama goes over old ground.

Flock Of Dudes is light on both bro-bonding shenanigans and worldly drama, despite boasting such an enviable cast of comedians.

Though not a terrible film, Insidious: The Last Key fails to live up to the franchise's high standards.

Uncharted aims for old school adventure with a modern sheen, but the end result is the latest in a long line of immediately forgettable video game adaptations.

There are sporadic sparks of magic in 'Damsel', especially when it's navigating its better-fitting element of action fantasy rather than fairytale.

Star Wars: The Rise Of Skywalker suffers the misfortune of having a director who cares more about digging up a franchise's past than moving forward with an original story.

Powell's screen presence is undeniable. Unfortunately, so is the lethal lack of confidence with which 'Twisters' tends to present itself.

Evolution is undeniably beautiful, but it's a small-scale story which ignores a larger world that needs far more exploration.

SiREN never takes Bruckner's original idea and runs with it, failing to capitalize on a demonic romance that so many V/H/S fans demanded to see more of.

Allied is a prestige drama without the prestige, wooden in appearance and lacking any true drama.

The fresh cast seems to have just as much fun as Knoxville and his buddies did making Jackass, but with its half-assed story and unusual presentation of the alluring and advertised stunts, Action Point feels half as genuine.

The Windmill is all about kills, but can't generate enough energy to power this derivative, sometimes nonsensical plot.

Odar does his best to manipulate Las Vegas’ seedy underbelly (City of Sin, after all), but so much of Sleepless feels like recycled, seen-it-before action genre gristle. The stuff you chew while hoping a little fatty goodness is left.

A grandiose action-comedy, with an over-reliance on CGI, and not a crumb of Christmas charm.

Get The Gringo is a passable addition to the action genre but it might have been better had the need to keep Gibson’s fan base happy not been so pressing.

This Is Your Death is a brilliant concept, but tonal mishandling makes for another media takedown that's all bark and no bite.

Sand Castle is an Iraq war story about certain futility, but there's a certain redundancy to political overtones that preach what we've been hearing all along.

Dog Eat Dog is all bark and no bite, playing around in a sandbox of vulgarity with little rhyme or reason.

The Birth Of A Nation is not without inherent power, but Parker struggles to evoke anything besides surface tellings of textbook atrocities.

Keeping Up With The Jonses plays everything so disappointingly safe.

Paranormal Activity: Next of Kin doesn't reinvent the wheel, and it won't win over many new converts, but it's the best entry in the franchise for a long time.

The Predator guts and slashes its way to gory sci-fi mediocrity, but is further failed by abysmal pacing that loses characters, subplots and interest along the way.

While surfacing sometimes thanks to a decades-old friendship, 'The Instigators' remains a tonally chaotic sinking boat.

Daniel Radcliffe does what he can to elevate the survival story at the heart of Jungle, but the film's awkward pacing and over-reliance on cliche hold him back.

The Marsh King's Daughter is yet another addition to the forgotten library of inconsequential and underdeveloped action thrillers.

Winchester is a familiar haunted house shuffle about an infinitely more interesting topic, but you must play with the hand you're dealt - win, lose or draw.

Bad Boys: Ride or Die leans heavily on nostalgia and fan service. While Smith and Lawrence's chemistry remains, the film's predictable plot and over-reliance on past glories make it a forgettable experience for all but diehard fans.

Ant-Man and the Wasp: Quantumania is the weirdest, most fun movie of the three. Yet, it's bogged down by serving as another stepping stone on the road to Marvel's Multiverse Saga.

Cardboard Boxer isn’t meant to be subtle or subversive. That’s fine. It doesn’t need to be. But it does need to feel sincere or at least genuine, and that’s only occasionally the case with Lee’s underwhelming debut.

Fear Inc. wastes a devious idea on a slew of reveals that bring momentum to a crushing halt.

This is one sluggish curse that wouldn't wake even Sleeping Beauty.

The Bleeder is a surface-value, party-first boxing dramedy that pulls its punches and goes too far into "charismatic sleazeball" territories.

An American Pickle features an impressively committed Seth Rogen in dual comic roles, but the film lacks depth and urgency and isn’t nearly funny enough to make up for it.

Shazam! Fury of the Gods is a substantial step down from its predecessor, hardly ideal when the future of the entire franchise likely depends on it.

Doctor Sleep is a conflicted and unwieldy sequel attempting to unite worlds (King and Kubrick) while telling an original story from yet another filmmaker's viewpoint (Flanagan) that never blends together.

They/Them offers an interesting vision of what greater, specific LGBTQIA+ representation and storytelling can bring to a slasher, even if it doesn’t land perfectly.

Railroad Tigers is an action epic that wants to be a comedic goofball, as it fumbles both aspects when trying to meld them together.

Poorly written and with hardly any thrills, The Mule disappointingly depends on the amiability of Eastwood’s character, whose extreme social ineptness is far beyond the redeeming powers of star power.

Lion may be a little too Oscar-bait-y, but it's not without loud emotional roars.

This is just the sweeps-week Fast And Furious that jumps the shark, ready to right itself come next season – and it better. Dominic Toretto’s team deserves to go out in a blaze of glory, not a slippery skid that can’t be controlled.

Hitman's Wife's Bodyguard is a perfectly acceptable buddy sequel, but it's all very uninspired and unoriginal.

There’s also an earnestness and unashamedly goofy quality to the whole thing that might even win over some of the actor’s longtime naysayers.

Mark Rylance is wasted in this ponderous piece of arthouse introspection.

There’s some fun to be had as this reality-show-gone-mad dashes about London’s streets, but never with enough character to be something unfamiliar.

Argylle isn't a triumph and it's oceans away from Vaughn's best, but it manages to hold on by a thread to the essence of what makes the filmmaker's work shine.

I can’t deny that Eugène Green is a talented, idiosyncratic director and his Son of Joseph has many visual and intellectual qualities to boast about. But it’s a film I appreciated much more than I actually enjoyed.

Warren Beatty's Howard Hughes retrospective, Rules Don't Apply, is equally tone-deaf in humor and drama, cobbled together in ways that never seem to fit.

Perhaps it’s a relief that the film does not, as is a trope in recent films, end in Gru’s temporary redemption, but at least that would be a conclusion of some sort. Instead, we’re left with entertaining but toothless villain-lair-building.

Kandahar finds Gerard Butler doing what he does best, and while there are some admirable attempts to deviate from formula, the end result isn't going to be regarded among the action hero's top tier.

A marked improvement over the similarly-titled 2003 film, 'Haunted Mansion' nevertheless falls at too many self-imposed hurdles to make the most of what should have been a self-sufficient recipe.

The Banana Splits Movie is a peculiarly fresh nostalgia trip and has just the right amount of gore to make this otherwise by-the-numbers slasher a surprisingly amusing experience.

Netflix's The Union is a formulaic spy thriller that wastes its promising premise. Despite the star power of Mark Wahlberg and Halle Berry, the film suffers from a predictable plot, mediocre action sequences, and shallow character development.

Bad Santa 2 is the same holiday depravity with half the enthusiasm, too drunk on its own despicable tone.

The Cloverfield Paradox is a monster-sized misfire that feels disconnected from the franchise it’s crashing.

Tyler Perry never wants to scare you, and I assure you, he never will. Perry DOES want to make you laugh though, succeeding when jokes are bite-size and contained – but most scenes ramble on and on as Madea searches for multiple ways to land the same punchline.

The Great Wall is like the disaster of 47 Ronin all over again, except the action is a bit more fantastically barbaric and Damon isn't all that bad himself.

Red Notice is vastly less than the sum of its parts, with the central trio saving it from mediocrity. It's a perfectly acceptable and decently entertaining $200 million action epic, but nothing more.

It’s all so very by-the-books, undefined, carbon-copy Conjurverse refurbishment without a guiding voice, which makes for a disappointingly one-note watch that barely raises a hair. At least The Nun has personality – something The Curse of La Llorona’s waterlogged redundancy cannot boast.

Happy Death Day is a generic PG-13 horror purgatory that's lived on repeat until even weaker motivations take us farther out of any semblance of storytelling thrills.

Day Shift just about gets by on its impressive action sequences, but everything else about the vampire horror comedy feels more than a little lacking.

[The film] is really little more than a collage of gag-worthy and violent attempts at comedy.

Bird Box Barcelona expands the mythology in several new and fascinating directions, but it also makes the mistake of posing several bigger questions that it doesn't seem to want to answer.

Dead men may tell no tales, but with Disney's latest Pirates sequel, I'm not convinced that living men can tell tales with any more intrigue.

Jurassic World Dominion has its moments, but the latest installment in the franchise squanders what should have been a slam dunk.

Tank 432 does right in building battlefield tension without any gunfire or attacks, but misses its mark in neatly wrapping up yet another paranoid psychological thriller.

Trying to juggle complex theories of metaphysics and cosmology with simple themes of self-acceptance and the deterioration of the “darkness,” A Wrinkle in Time comes off as a disjointed and miscalculated project, rather than a visual and contemplative journey.

A blatant attempt to apply the winning 21 Jump Street formula to another television property, CHIPS instead winds up a standard hard-R action comedy that audiences will probably forget by the time they leave the theater.

While 'IF's colorful creatures and set pieces might offer a temporary distraction, the weak script and superficial world building crumbles into dust at any sign of scrutiny.

XX is a mundane horror anthology at best, and a slow-burn experience that never reaches a boil at its worst.

With Miss Peregrine's Home for Peculiar Children, Tim Burton focuses all his energy on a dusty, far-too-droll buildup that's far from worth whatever short-lived excitement his finale brings.

The Accountant is so many baffling things, most (but not all) of which can not be described in a positive manner.

Despicable Me 3 hits a supervillain high with Balthazar Bratt, but also a franchise low as far as Gru and Dru's brotherly reunion is concerned.

We Have a Ghost shows plenty of ambition as writer and director Christopher Landon broadens his horizons, but it never feels anything more than a series of disparate parts failing to come together as a satisfying whole.

Tom Cruise is as muscly and bland as heroes come, restrained by the burden of two dead-weight companion pawns. Jack Reacher is a man who thrives on working alone, and this dull tale of backstabbing militant leeches proves that fact tenfold.

Despite an excellent secondary cast and an interesting story, Dabka fails in its aspirations due almost entirely to its own smugness.

Underworld: Blood Wars is the kind of mainstream horror I want to champion, but lackluster technical aspects nullify Kate Beckinsale's kick-ass performance.

The Abandoned is a steadfast and creepy haunted flick, until the final five minutes sink the entire production. It'll work for some, but sadly not for most.

The Shack isn’t quite as bad as expectations might lead you to believe, but it’s not divine, either.

Jack Goes Home is a swirling storm of emotional ravaging that’s eventually personified by action, but it never comes together as wicked, cohesive storytelling. Give this one a watch, but just know the risks going in.

There are just enough explosions in Mile 22 to keep you awake throughout the almost unbelievable amount of sludge that buries the rest of the film’s trim runtime.

Staying Vertical feels weighed down when it should be light, and ironic when it should be earnest. For better and worse, the film terrorizes conventional cinema without providing any good alternative.

Despite Fuqua firing on all cylinders and Washington making the most of what will probably be his final outing as McCall, the narrative foundation of The Equalizer 3 is sadly far too rocky for even the best in the business to breathe the proper life into it, only managing gasps of what could have been if the script (and, again, the possibly-guilty final cut discussions) hadn’t been so gutless.

Why Him? plays a fairly one-note game that gets tiresome halfway through, which is sadly still better than most comedies put out this year.

Gomez-Rejon’s The Current War is unfortunately neutralized by Mitnick’s artless script.

Meow, there are laughs to be had here and there throughout Super Troopers 2, but unless you’re really riding the Highway Patrol's wave of manic police work, miss this stale revival and stick to the original.

Jigsaw feels like a forced hodgepodge of previous franchise entries that never carves its own identity, making you question what prompted such an expected reboot these few years later.

Nearly every aesthetic decision that went into this version of the The Lion King detracts from the artistry and the heart that helped its predecessor surpass immortality.