Christy Lemire

Headey is coolly fierce and shares some powerful moments with both Wilson and Winstone as the reporter who threatens to expose this juicy sex scandal. But these scattered pieces don’t create a complete and convincing picture.

A weirdly hideous hodgepodge of images and ideas, as convoluted as its confusing title would suggest.

The Deliverance would have worked just fine if it had functioned solely as a domestic drama infused with the thorny, real-world issues of addiction, poverty and racism.

The dream — or the drug-induced hallucination, or whatever this is — can only last for so long.

Jettisons everything that’s honest and worthwhile about the books in favor of hackneyed misadventures and gross-out scatological humor.

Love, Guaranteed is the kind of movie you leave on the TV because you’re lying on the couch with a cold, and the remote control has fallen off the blanket onto the rug, and you don’t feel like going to the trouble to reach down, grab it and change the channel.

The result is a muddled mixture, offering some moments of exuberance and humor without ever being singular or exceptional.

Schwarzenegger has turned into your elderly uncle, dancing like a goofball at your wedding after a couple glasses of champagne. He knows he’s being silly, and he knows that you know, and that alone is supposed to be good for a laugh. But it’s not. It’s just sad. He has essentially become McBain.

The Pickup is as generic and forgettable as its title suggests: a bland action-comedy that will surely end up being one of the year’s worst movies, if only for the egregious way it squanders its talented cast.

Pretty much everyone in this movie is annoying all the time, and Spindel yanks us around in tone from one moment to the next: wacky, then romantic, back to wacky, then dramatic, before ending on a disastrously wacky note. Every new situation, whether it’s shopping at Toys “R” Us, a school field trip or a pre-natal therapy workshop, provides the set-up for wild humor that doesn’t land.

There are plenty of perfunctory jump scares as well as some especially cheesy visual effects. But there is exactly one inspired sight gag and one funny line of dialogue, so you have those to look forward to, should you land on The Curse of Bridge Hollow while absent-mindedly scrolling for timely holiday fare.

Both actors are gorgeous, of course, which heightens the romantic fantasy of it all, but there's also a naturalism to them that's appealing.

Nothing is compelling about these characters, and Bennett and Riley have little chemistry with each other playing them, even though they’re supposed to be estranged exes experiencing an unexpected spark.

It never quite works on its own. What’s crucial at the core is creating a character who feels like a real human being; Susan is more of a collection of quirks and bad choices. There just isn’t much to her. And the novelty alone of seeing Hayes play a woman is not enough to recommend this, although he does offer sporadic glimmers of vulnerability and humanity.

Over and over again, this is the level of humor in My Big Fat Greek Wedding 2 — this is the shrill note it hits.

Terrible and insane, and will surely end up being one of the worst films of 2019. But it’s also such a wildly ambitious roller coaster ride that it must be experienced, preferably with friends, to laugh together at its cheesy dialogue, over-the-top performances and multiple, major plot twists.

The makers of The Possession of Hannah Grace clearly intended for it to be dark. After all, it’s about an exorcism that goes horribly wrong, resulting in further mayhem months later at a morgue. But they probably didn’t mean for it to be visually inscrutable, which is what this quick and dirty — and mostly scare-free — horror film ends up being.

Anyone who’s dealt with a teenager can relate to the baffling surliness that emerges out of nowhere — but like needless sequels, this, too, shall pass.

Nothing nearly so wacky or grotesque goes down in this romantic thriller, but you’ll wish it would.

If you liked “Frozen” but wish it had been angrier, The Huntsman: Winter’s War is for you.

Judy Greer assembled a monumental cast for her directing debut, A Happening of Monumental Proportions. Then she stranded her fellow actors with material that doesn’t even begin to tap into their talents.

So of course, Hardy applies that same intensity to the comic-book anti-hero origin story, Venom. And his fully committed performance is pretty much the only reason to see it.

It is the kind of movie you watch on an airplane — perhaps on the way to someplace luxurious and relaxing like the South of France, the film’s setting — while falling in and out of naps.

If The Turning leaves you screaming, it’ll probably be out of frustration over its abrupt, unsatisfying ending and not the actual frights that precede it.

Director/co-writer Chris Dowling infuses his sports drama with a grungy sense of place, making Run the Race feel a bit like a Christian version of “Friday Night Lights.”

Vaguely more tolerable than you might expect – enjoyable, even, in sporadic bursts.

While the performances are stronger and the narrative is more coherent than you’d see in a “Madea” movie, for example, Perry’s latest still features many of the auteur’s trademarks: dizzying tonal swings, awkward blocking, drab lighting, jarring edits and a mixture of the salacious and the puritanical.

No one needs a paycheck this badly. This goes far beyond the one-for-me, one-for-them theory of role choices.