G. Allen Johnson

It's also troublesome that Murphy, a generally charismatic actor, is downright dull here. He and Goldblum are curiously flat in their line readings; they don't seem convinced by the story they're asked to act out, and with good reason.

In tackling 1000 A.D., (McTiernan)'s suddenly an unwieldy, clunky filmmaker.

Sometimes the movie is a little too slick. Some of the characters, such as Sean’s girlfriend (Jacqueline Byers) and the FBI agents who begin to believe Sean’s story, are underdeveloped. But Tennant, excellent as a creep, and Sheehan, who is appealing in his helplessness, provide the necessary depth.

Cave, who gained notice with much-lauded Hulu feminist horror film “Fresh” (2022), is too busy condescending to her characters to be invested in what happens to them.

The last half-hour of “Opus” is an unbearable slog, with an unsatisfying ending.

It could be considered an achievement that a full-length feature movie with a talented ensemble cast, led by Kristen Bell and Allison Janney, couldn’t create a single character that you would want to spend more than five minutes with, but there it is. Not even picturesque London can save this witless comedy.

It's a movie drenched in narcissism and wish-fulfillment, almost a textbook on how to make a formulaic, romantic film.

Describing this makes it sound like there’s more plot than there actually is, but “The Carpenter’s Son” isn’t a conventional story. It’s more of a mood piece, with a true run time of just barely 90 minutes. But it’s got Cage, and that’s the difference maker.

What we get are quirky characters who are such cartoons that they undermine the effectiveness of the scare scenes (Brad Dourif's turn as the weird doctor is an example) and well-composed camera angles that mean nothing.

Welcome to Marwen does not work as a drama of addiction, and frankly it doesn’t work as a celebration of Hogancamp’s creations, which work best as stunning still-photo images.

There is not one line of dialogue or one sight gag in About My Father that can’t be found in other bad comedies, and Maniscalco . . . and director Laura Terruso seem to believe the path to humor is to go as far over the top as possible.

UglyDolls is a mind-numbing, low-rent version of “Toy Story,” with saccharine songs and a plot with echoes of, no kidding, the Holocaust. If you’re under 10, you might like it.

Just an odd mess of a movie. That you feel anything at all is a tribute to the acting talent of Dinklage and Goggins, who occasionally make us care.

Snoop has obviously made a real-life impact in his community. Too bad he couldn’t make one in reel life as well.

Like the King of Pop himself, “Michael” is unashamedly a crowd-pleaser.

Like Disney’s tepid 2019 live-action remake of “The Lion King,” it’s virtually a beat-by-beat remake of the original, but without the original’s energy and movement.

Perhaps a bit miscast, and with a penchant for too many double-takes, Perry nonetheless is game.

The “Paranormal Activity” films, to their credit, build slowly, backloading the chills in the second half. That means, to get through that first hour, the characters have to be interesting, but these self-absorbed Gen Z wannabe filmmakers are anything but.

If only director Luis Llosa and his cast could see the joke and seize upon it; instead, like its computer-morphed snake, the film doesn't have a clever bone in its body.

In the Blink of an Eye proves yet again that Stanton is a dreamer, with an unshakeable faith in humanity. That’s not nothing.

So while director Evgeny Afineevsky practically makes the case for Francis’ sainthood — immersing the viewer in a nonstop barrage of swelling violins and inspirational music, featuring interview after interview of people who have been touched personally by the pope — his bloated two-hour film leaves many unanswered questions.

The Out-Laws is dead on arrival.

A downright dumb movie that, with its breathless pace, lack of character development and uninventive gags, might be torture for even the kids to sit through.

The original Space Jam was an out-of-nowhere delight, and Jordan gave space to his fellow live action co-stars, such as Bill Murray, Larry Bird and Wayne Knight. It was also in and out in 87 minutes; Space Jam: A New Legacy, directed by a good filmmaker, Malcolm D. Lee (Girls Trip, The Best Man), is a bloated 115 minutes, its mayhem and madness wearing pretty thin as it goes along.

As corny and illogical as Poms is, it does have heart and a positive message about aging that is lifted (barely) above the level of cliche by the great cast, especially Keaton and Weaver, who provide a level of complexity that the script can’t.

It's downright boring.

The writer-director has come up with a sumptuous, happy piece of fluff.

This latest installation in the “Big Fat Greek” franchise is colorful and celebratory, eager to entertain and wears its heart on its sleeve. There’s something to be said for that.