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.