The uneven experience ends up feeling so fleeting that I’m uncertain what needs to be said about the movie other than a head-tilting “eh.”

Once the slight shininess of “Bloat’s” “screenlife” sheen gets dulled, it’s even easier to see the movie as a rote possession yarn.

Dualities dominate “F Marry Kill,” though they cause confusing creative conflicts more often than they work in tandem to complement one another.

“Popeye’s Revenge” makes a strong case on behalf of corporate lawyers for why ordinary people shouldn’t be allowed within an inch of lucrative IP.

The world created for “The Gorge” might work better in a book, where an active imagination can shine brighter lights on the creatures and concepts than the movie does.

It’s not your fault if you make the mistake of assuming “Piglet” spun out of the “Winnie-the-Pooh: Blood and Honey” series.

Characters kept at arm’s length from audience investment and predictable beats transform “Wolf Man” into a disappointingly bland movie.

“The Damned” concludes on an unsatisfying explanation that retroactively reduces the entire experience to a big buildup for one minor moment.

The narrative’s familiarity can make the artistic immersion seem drearily indulgent at times when the movie should feel mesmerically dreadful.

If it made sense for this to be a feature-length film in the first place, “George A. Romero’s Resident Evil” might be a more essential piece of horror history.

Structured strangely, and centered too squarely on the more mundane moments of a young girl’s life, “The Man in the White Van” misses more than one mark as a serial killer thriller.