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.

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.

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

James Franco is a stand-out in I Am Michael, but the film's specific story struggles to relate on a broader scale.

Justice League is a sloppy team-up film that doesn't even take time to properly introduce pivotal members of its titular team, but when you're playing a dangerous (also ill-advised) game of catch up, these are the risks.

A few images sear with the burning sensation of undead terror, but that only accounts for a few short minutes of an otherwise more-daunting-than-it-should-be cinematic exploration of death.

Without a shadow of a doubt, it’s very much a costly, star-studded, explosive attempt to build a brand new IP from the ground up that the company can call its own, but it’s impossible to shake the feeling that we’ve walked down this exact road many times before. Make of it what you will, but the end product is exactly what you think it’s going to be, for better or worse.

Dwayne Johnson and Emily Blunt elevate Jungle Cruise, but you've seen this movie before, and you've seen it done a lot better.

Terminator: Dark Fate is a good Terminator franchise entry by comparison, but still falls into many of the pitfalls that modern reboots/remakes/sequels struggle to sidestep when balancing nostalgia with hyper-CGI action.

Power Rangers doesn't completely fail as an origin story, but it's too familiar with its new-age reboot mentality that repurposes instead of recreates.

[Robespierre] and Slate make a formidable, interesting pair together and I do look forward to their next venture, but Landline is a disappointing venture.