While The Scribbler isn't exactly in contention with the best that the comic book genre has to offer, Katie Cassidy utilizes the numerous voices in her head to create a unique hero for a bit of stylized freshness.

Wish Upon is a Final Destination redux that pulls too many punches.

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

Quite simply, it’s impossible to “enjoy” a film that makes you feel even worse about the society we live in – especially when it’s so gobsmackingly unaware itself.

Hellboy feels editorially chopped to bits, tonally disjointed and created from clashing perspectives that make for the type of "dark, gritty" reboot that misunderstands why certain "dark, gritty" reboots end up working.

The Book of Henry is a hair away from being in league with the most ludicrous Lifetime original movies, but its cast, slick production and Trevorrow’s willingness to take risks make it an oddball chunk of entertainment you’ll be sure to tell your friends about, whether you liked, loved or loathed it.

Obvious and sometimes aggravating no doubt, but still effective in raising blood pressure given a backstory so instilled with old-school cultism.

Sometimes, something so bad happens that a terrible sadness is carried with it and the soul can't rest. 'The Crow' is one such bad something.

The Expendables is far from high art, but it’s safe to say the saga has never hit a lower point than it has here, a crushing disappointment for anyone genuinely hoping for the return to form that was promised and demanded.

A power failure from top to bottom, The Electric State takes its revelatory source material and churns out cinematic poison of the most rancid order.

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.

It’s either a compliment or a criticism to say that you need to be on the exact same wavelength as Big Gold Brick to get a kick out of it, because if you turn the dial even the tiniest little bit in either direction, all you’re going to end up with is static. If you’re on board, though, then there’s plenty to enjoy about an offbeat adventure that’s unlike anything else you’re likely to see this year.

Incarnate is just another buried Blumhouse special, and I assure you its neglect is with good reason.

Area 51 is everything that's wrong with not only found footage films, but also weak-minded sci-fi thrillers that think crazed talking heads and fuzzy shadows are scary enough.

Cabin Fever: Patient Zero certainly lives up to Eli Roth's gory standards, but individual enjoyment will hinge on one's love of schlocky B-Movie antics.

Brahms: The Boy II seems to want nothing to do with its original, which is an odd and detrimental outcome for your direct continuation of Brahms' ongoing story.

It’s a flawed, frustrating film made even more lackluster by its failure to explore its own weighty themes and its apparent refusal to connect those themes to its story and characters.

Alexa, send this underbaked, untethered failure back to the cutting room.

Paramount+ has finally released its first major in-house exclusive movie, but it's an understatement to say that Infinite could be better.

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.

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.

Relentlessly dumb yet royally entertaining, Survivor sometimes approaches the realm of being “so bad it’s good.”

It’s not that Soisson created a terrible movie, but Cam2Cam is late to the party, brings absolutely nothing notable, and sits in the corner without making a peep.

Frankly, it’s heartbreaking to see the Henson name tossed about a project that’s so heartless and so gruesome that the only thing I imagine sticking from it is Phil’s “Silly String.”

Bay's latest Transformer title is a daunting behemoth of a film and you can feel every ounce of dead weight, as sins of the past are committed without any signs of stopping.

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

Like a flashlight that's running low on juice, you can feel the life oozing out of Nightlight with every faint flicker.

Many have done worse with similar setups, which isn't exactly a glowing recommendation - but hey, if you love Pierce Brosnan enough, you should be fine with I.T.