Brian Truitt

The film aims to be a Gen Z/millennial “This Is Spinal Tap” but with much less clever wit and way more vocal fry.

While it does offer an extremely flattering view of all things Melania, outside of a few candid glimpses, you're not really going to learn a lot about who she really is.

[Kidman's] Lifetime-esque potboiler centers on a bored working mom who discovers her husband might not be on the level, but while the locale is postcard idyllic, the narrative is a never-ending slog, only getting halfway interesting with a silly third-act twist and a suddenly bloody finale.

It’s a bizarrely off-kilter affair that’s forcibly heartfelt and sentimental in one scene and overly mean-spirited in the next, and not even a few choice moments and some enjoyable surrounding weirdos can help two A-listers in way over their heads.

If only a psychic could have warned us about these wretched Spider-Man spinoffs.

The follow-up fails in every way, as a retread of the beloved ‘90s vehicle and as a youth-centered setup for future installments.

With Leto flying and jumping through New York City as a do-gooding bloodsucker with moral “Should I feast on my fellow man?” quandaries, “Morbius” is a lifeless slog with no real bite.

Life Itself is a real downer when it comes to death: A few are so out-of-nowhere that it’s like the hipster version of the “Game of Thrones” Red Wedding.

Stuffed full of rampant badness, the scattershot comedy isn’t nearly as clever or subversive as it thinks it is.

Alicia Vikander worked herself into hardbody shape for Tomb Raider, which by contrast is a flabby, lazy mess.

Actually does manage to be the best of the BDSM bore-fests in the forgettable erotic saga based on E.L. James’ Fifty Shades novels.

The original Pitch Perfect worked so well because it was about the friendship of the Bellas amid the wonderfully weird world of singing dorks who didn't get the memo that they weren’t cool. That's now long gone, and what’s left is just way off-key.

The soundtrack for the P.T Barnum biopic musical The Greatest Showman is chock full of amazing and catchy tunes you’ll be humming after the credits roll...The actual movie? Send in the clowns.

This is a fantastical faceplant, and though Elba tries his hardest, what could have been the tale of an iconic gunslinger is a big miss.

Even if you love alien robots punching each other while tossing out insipid one-liners, it’s a painfully long two and a half hours where the biggest problem isn’t a lack of plot but way too many of them.

It fumbles because neither of the characters are particularly likable.

Despite the beautiful eye-popping world it creates, the sci-fi film Ghost in the Shell is a defective mess with lifeless characters, missed chances for thematic exploration and a minefield of political incorrectness.

The Great Wall crumbles mainly because of its wholly predictable plot, wretched dialogue and dud of a filmgoing experience from noted director Zhang Yimou (House of Flying Daggers).

There are a lot of negative things to be said about Fifty Shades Darker. But it does impress in one sense: The erotica lite sequel somehow manages to be worse than the stupefyingly bad "Fifty Shades of Grey."

There’s fish-out-of-water hijinks as the Martian boy looks for the dad he never knew, but the whole sci-fi narrative collapses into a mess of illogical story beats and groan-inducing quasi-tragic bits right out of "Love Story."

An unseasonably cynical assault on the holiday spirit.

A disappointing effort from a master filmmaker, Billy Lynn’s Long Halftime Walk trips in all the wrong places.

The major whodunit here is who made a best-selling thriller so darn boring.

Ridiculousness needs to abound somewhat in a film like this — reality takes a seat early and often here — but Resurgence pushes everything to an egregiously over-the-top and often infuriating degree.

Looking Glass is instead a competition to see how goofy Johnny Depp can be as the Mad Hatter and how many scenes (and hearts) Helena Bonham Carter can steal as the ragingly high-maintenance Red Queen.

May boast a star-studded cast but it’s a spectacular dud on every other level with tonal whiplash, a little casual racism played for jokes and a script seemingly pulled from Hallmark cards rejected for being too hokey.

It’s a dunderheaded follow-up, for sure, but it’s at least buoyed by Chris Hemsworth’s charisma and the few times where Winter’s War embraces complete camp.

Isn’t nearly as funny as it thinks it is spoofing spy tropes and buddy films and making a mockery of AIDS, politicians, movie stars and working-class Brits.

Moviegoers may wish that Will Ferrell's megalomaniacal supervillain Mugatu had won in the first Zoolander and saved us from another film with these boneheads.

True, most Christmas flicks tend toward the trite and predictable naturally but they just don’t have to be quite this insufferable.

A mostly dreadful reboot by director Camille Delamarre (Brick Mansions) that casts English youngster Ed Skrein in Statham's role as well-dressed driver-for-hire Frank Martin.

A plethora of beats drop but little else of note — musical or otherwise — happens in the Zac Efron DJ fest We Are Your Friends.