Drew McWeeny

Stonewall is the anti-"Selma," a movie that not only fails to fully capture the energy and importance of a true event but that fails so completely as a film that it is almost impressive.

Blackhat is a staggering misfire by a whole bunch of talented people, terrible in a way that only a good filmmaker can accomplish, and it kicks off 2015 by setting the bar very, very low. Things can only get better from here.

I think Sandler's miscasting leads to a real deficit of energy at the center of the film, and then the conceptual misfire is so dire that I just don't know what to say beyond that.

It would be a lot easier to give the film a soft pass if it wasn't so aggressively lazy.

There are some actual big ideas bubbling around somewhere below the surface of the film, but it's so ham-handed, so unable to grapple with the full implications of any of those ideas, that it actually becomes offensive.

Walking out of the film, I might have given it a C+ or a C based purely on the fumes of Murray's better work that are present here, but the more I've thought about it, the more infuriating it is to see something this lazy and familiar from Murray at this point.

It is a ridiculous story, and these aren't human beings acting in a way that any of us would recognize.

With no clear purpose in telling the story and no real focus in the actual storytelling, Pan never gets off the ground.

I don't think Strange Magic is terrible movie, but it is a very weird one in many ways, and perhaps the most bizarre thing about it is realizing that we finally have a fairy tale written expressly for the age of date rape drugs.

Brutally unfunny, visually off-putting, and filled with cameos so embarrassing I am bruised from holding a cringe for a full half-hour, Zoolander 2 is every horrible decision you can make with a comedy sequel wrapped up into one nigh unbearable film.

Competently made but morally repellent, Get Hard may be my least favorite Will Ferrell feature film.

There is nothing about Terminator: Genisys that suggests that this film was a compelling, urgent, essential dream for anyone involved. This is all about squeezing cash out of people who are fond of the original films, calculated and without any of the soul of Cameron's films.

It is a staggeringly bad film, made up of lots of faulty pieces.

An entirely laughless affair and easily the low point of Cohen's career so far.