For now, audiences will have to make do with this considered slice of comedy-drama, which throws up some familiar questions without actually digging deep enough to offer up anything conclusive.

Franck Khalfoun’s often-rethought Amityville: The Awakening is sleepover background noise at its best, traceable genre road-mapping at its worst.

It may be messy, but the parts that matter go for broke with breakneck ambition.

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.

Armed with a glistening beating heart but too stubborn to open itself up, Opus falls into the very trap that it warns against.

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

Night Teeth is a disappointing vampire thriller that's all style and no substance, leaving plenty of interesting world-building and unique mythology behind in favor of a formulaic story audiences will see coming from a mile away.

Trash Fire blazes with pitch-black wit and a dark, volatile story of redemption so good you'll be laughing your way straight to Hell.

Halloween Kills is a huge comedown compared to its predecessor, offering plenty of blood, guts and gore to satisfy fans but little for everybody else in a by-the-numbers slasher sequel.

Excitement is fleeting, dialogue rambles and Jude Law’s tyrant-approved throne slouch pretty much sums the film’s overall attitude – a hearty “meh,” worthy of no diamond-studded crown.

Jackpot! delivers a delicious deranged mix of dark comedy and thrill ride. While its silliness may not appeal to all, the film's clever premise, strong performances by Awkwafina and John Cena, and well-timed humor make for a great experience.

Black Adam is nowhere near the game-changing revolution for the DCEU that was promised, but it's a solid introduction for Dwayne Johnson's antihero nonetheless.

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

Moonfall is every bit as big, loud and stupid as you'd expect, but Roland Emmerich's latest disaster epic is also an unforgivably dull slog.

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.

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.

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

Monster Trucks is a weird, wacky ride that's made better by its sense of good-natured, juvenile fun (for the most part).

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.

The Hollow Point is a blazing contemporary western that finds pleasure in punishment.

The Grudge feels like "just another remake," which is a shame with such a previously style-forward director at the helm.

The end product is a hugely satisfying and wholly original Christmas pic that will no doubt become required viewing on an annual basis for those who prefer their holiday favorites to be a little less traditional.

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

With a greener blend of heart and humor, Shaft safely ushers in the vigilante detective for modern audiences, though safety never seemed to be a factor before.

Ben Wheatley's blockbuster debut reduces him to an anonymous bystander in a sequel that's inexplicably weaker than its predecessor. If we get 'Meg 3,' then somebody needs to remember these things are supposed to be fun.

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.

Abattoir feels like it should still have an "Under Construction" sign warning viewers of the unfinished business to come.

You might think you've seen it all before, but 'The Twin' thrives in upending expectations to deliver an atmospheric folk horror that's as emotional as it is terrifying.

Despite its stunning backdrops and inspired new designs, Smurfs: The Lost Village is a smurfing waste of time.

The situation at the heart of Mine - what to do if you're stuck standing on a live landmine - is fascinating to imagine. But sadly, the film eventually devolves into cliched flashbacks and quickly loses momentum.

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.

If you like the 1992 classic you might enjoy this update, but if you don't have the time to kill, it's probably worth sticking to the original.

The effort put forth by James, Tomei, Hauser, and Fimmel just about carries Delia’s Gone over the finish line, which offsets the overall lack of a laser-focused singular method of storytelling that would have improved things exponentially.

Submerged is a whole mess of tension primed to leave viewers in an anxiety-induced pile of helplessness, which means it does its job pretty damn well.

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.

Leatherface is an origin story that attempts to carve new mythos for one of horror's mightiest legends, but ends up leaning on franchise references and bleakness to an unnecessary fault.

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.

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.

Here plays not only by its own rules, but a whole other cinematic ballgame, and those who take the time to learn its language will be immaculately rewarded.

There is something undeniably romantic about film noir that that makes Neil LaBute’s Out Of The Blue one of his most alluring cinematic concoctions to date.

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.

Where 'Pinocchio' slips up in selling its magical illusion, it makes up for in honest fun and a surprising self-awareness.

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.

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.

The Vatican Tapes relies heavily on its third act, but if you can stomach its more generic beginnings, you'll be treated to an exorcism story with higher stakes than normal.

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

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

The Collection is one of those horror films that really makes you sound like a deranged psychopath for recommending, but demands to be spread like a mind-controlling plague.

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.

A surprisingly uplifting film about a very difficult topic, Youth In Oregon's remarkable ensemble cast elevate the story into something unique and profound.

Grab on for dear life and expect a freakish, wild, and seriously f#cked up ride from start to finish - which, of course, is every horror fan's dream.

Brooding, powerful, and every inch the Americana melodrama - Devil’s Peak packs a punch and just keeps on coming.

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

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.

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.

You’ll find laughs, zaniness and plenty of signature slow-motion jiggling, but it’s buried under a burdensome two-hour procedural.

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.

Fist Fight suffocates a genuine script with easy, intro-level juvenility.

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.

The Bye Bye Man is an unfathomably inept horror film; one that’s an obvious byproduct of The Babadook/It Follows brand of horror success. It is, without apology, one of the emptiest, nonsensical haunted thrillers ever to fail genre audiences.

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

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

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

The concept is ripe for biting satire at how super-serving content can often by detrimental to art and creativity, but instead Space Jam: A New Legacy is a briefly and all-too-infrequently enjoyable hybrid of sports comedy and family drama that doubles as egregious product placement on the largest possible scale.

Any fans hoping that Assassin's Creed would break the long streak of poor video game adaptations are bound to be disappointed by this nearly incomprehensible mess.

It’s a practically criminal waste of acting talent, it looks and sounds terrible, and (despite being all cod-philosophical) is dumb as a box of rocks. Avoid avoid avoid.

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.

This year's Inside remake swaps Bustillo and Maury's brutalization levels for beyond-generic thrills that are more frustrating than fierce - whatever that's worth.

Tarot is at once a disciple of The Tower; apathetic, disgraceful, ruinous, and an utter, mirthless catastrophe.

Rupture is the kind of ill-conceived film that gives Michael Chiklis the campy role while keeping Peter Stormare on background duty.

Truth or Dare lacks the conviction to do anything remotely interesting with its premise, instead falling back on one tired horror cliche after the next.

The Unbreakable Boy will satisfy the terminally vanilla moviegoers, but the rest will see right through its game.

Despite a commendably committed performance from Tom Hardy (whether it's a good or bad one will still need further evaluation), Venom's a big, stinking gooey mess of a film.

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.

Morbius is a huge step backwards for Sony's Spider-Man Universe, and the worst Marvel-branded movie to come along in a long time.

The Turning is a failed ghost story on almost every conceivable level with a third act that's flat-out unforgivable.

There’s not a single character worth caring about, and even less artistic licence to appreciate. This is a dirty, depraved love-letter to horror that’s written in a bunch of different colored crayons to mask such simple words with distracting colors.

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

The Amityville Murders wastes historical reverence on a paint-by-numbers ghost story that relies too heavily on eyesore animated effects.

An artistically and emotionally hollow shell of a superhero film, 'Kraven the Hunter' leaves little for Sony to take pride in.

Put the shovel down while you can, Zack Snyder; 'The Scargiver' is a humiliating addition to the sci-fi genre, Netflix, and its viewers' memories.

Immaturely crafted and an insult to children's media, 'Harold and the Purple Crayon' should have gone back to the drawing board, and perhaps stayed there.

Rodriguez’s transformation is hackneyed and ham-fisted, Hill’s action lacks excitement, unnecessary comic-book panel swipes add “character” – there’s nothing noteworthy about this hunt for retribution.

Keeping Up With The Jonses plays everything so disappointingly safe.

Director Nikolaj Arcel blends dystopian weirdness and temporal hellbeasts until all that remains is an emulsified, grey gunk, which is then forced down our throats for 95 minutes. Flavor gone, identifiers eviscerated.

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.

Despite the best efforts of McCarthy, and a winsome Spencer as her sidekick, Thunder Force is more like Shazam! Lite. It wants us to laugh at genre tropes, but this crude and unoriginal dreck is just comedy Kryptonite.

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

Hart is capable of better, and Harrelson deserves better, so we can only hope the duo had fun during shooting, because there isn’t a great deal else to recommend outside of the pair’s best attempts at trying to wring some modicum of entertainment value from the scraps they’ve been given to feed on.

Imaginary is decidedly unscary, lamentably messy proof that horrendous scripts dwarf even the brightest premises on the creative food chain.

With a weak script and choppy editing, "Uglies" struggles to bring its dystopian world to life, wasting the potential of its cast and source material.

This isn’t a new breed of terror, just another neutered reboot churning all the same mainstream gears.

A harmless, unexciting directorial debut that tries to do too much too fast but is thankfully propped up by an always delightful Ke Huy Quan in his first ever leading role.

Less is almost always more, but the creative freedom afforded by Netflix must have meant that the director, co-writer, and producer didn’t feel obligated to leave much on the cutting room floor. As a result, The Bubble throws everything and the kitchen sink into the mix, but very little of it manages to stick.

Five Nights at Freddy's fails at being scary. The premise and setting should've made it an obvious horror win, but some baffling story choices and poor execution makes it feel like a missed opportunity.

A cast of reliable performers slum it in this by-the-numbers action thriller.

The Space Between Us is not without bright spots (celestial production design dazzles, Butterfield’s niceties are refreshing in today’s day and age), but it’s ultimately more a slog than serendipitous romance.