As I sit here scrolling through the many scathing reviews for both David Ayer's "Suicide Squad" and Barry Sonnenfeld's "Nine Lives," I can't help but wonder how we ended up here. This can't be what audiences want, right? Kevin Spacey as a talking cat and (no exaggeration) the 70th live action superhero movie since 2000? Obviously this is what we want if studios keep pumping them out? I, for one, am not so sure about that. Why are critics bored of the movies that are stereotypically made for summer?

Here's the thing: summer used to be the time for movies to take out all the stops and give moviegoers the biggest adventure $8 could buy. As time has gone on, whether it be the success of the "Harry Potter" movies in the fall, the "Twilight" movies in the fall, or the "Hunger Games" movies in the fall, studios realized that they don't have to stick to summer anymore — especially when fall seems to be the new summer, at least when it comes to blockbusters.

Marvel movies have claimed both the late spring and late fall spots in recent years, and they've had great success. Disney•Pixar has always taken advantage of the Thanksgiving spot, and it has always worked very well for them. Instead of the standard October spot, horror movies have been more profitable in the winter and summer months. These shifts have made it clear to moviegoers and filmmakers alike: release patterns of the past are changing rapidly.

With that in mind, the shift could also have something to do with the ever-growing impressiveness of special effects. Because a film has to be released by Dec. 31 to be nominated for an Academy Award the following January, many studios will release their Oscar hopefuls closer to the end of the year in order to increase their chances of being recognized.

I'm sure there are many other factors at play in addition to these three, but here's the bottom line: "summer movies" don't have to stick to the summer anymore. There's just no need for it, and studios know that. With Marvel movies dominating both early spring and late fall, scary movies making millions in the early months of the year, and comedies performing well all year long, the lines have been blurred and now seem irrelevant. Critics and audiences are getting what they want in every other season but the summer. All that's left for June to August are the movies that don't have a place anywhere else: sequels, reboots, and movies for parents and babysitters to take kids to.