Joe Dziemianowicz

Your mileage may vary — along with patience. Despite all the talk of the Shimmer, Annihilation sputters.

As it speeds along, the film delivers its share of popcorn-style entertainment, curves and thrills. But it stalls due to plot holes and murky storytelling, willful inaccuracies (like an invented Upper East side train station), wasted talent and conductor’s cap tips to better railway-based movies like “Strangers on a Train,” “The Fugitive” and “Unstoppable.”

In the end, The Man Who Invented Christmas is an enjoyable enough diversion. It’s no humbug. Just pleasantly ho-hum.

Roll The Snowman to the top of the ever-rising mountain of lousy movies with good trailers.

Together, they (Winslet/Elba) share warm chemistry. But that’s not enough to melt eye-rolling exposition or predictable twists you see coming — even in a whiteout — a mile away.

Reese Witherspoon’s oversized appeal and radiance is no match for Home Again, a ramshackle romcom short on both romance and laughs.

All three screenwriters either forgot or didn’t care that their heroine is 11. Even worse is when Félicie ends up dancing on tables in a bar — as in, a bar — “Coyote Ugly”-style. What? It’s not easy to take a message about taking leaps of faith from a movie that too often has two left feet.

Berry, who’s been down a similar road before in “The Call,” brings grit, guts and tears. But all that’s not enough to break the monotony — or the preposterous conversations she has aloud with herself.

At its best, the movie turns gender roles on their heads. While the girls party very hard, bride-to-be Jess’s fiance Peter (Paul W. Downs) spends his stag party tasting wine with his buds. Moreover, people can surprise themselves — and do things they don’t expect.

Director Daniel Espinosa whips up some nail-biting sequences. But the suspense is all by-the-numbers.

The story submerges and drowns in preposterous gothic nonsense.

Whether or not the movie turns you into X-philes, Yoshiki is hard to shake.

Director Tate Taylor, who neatly wove together women’s stories in “The Help,” is out of his depth with a thriller. He fills the screen with endless close-ups but not a lick of tension.

Murphy’s low-key but affecting performance is filled with loaded and loving glances. And the restraint becomes the 55-year-old star. If only the film were better.

Ryan’s debut as a director is a sketchy and starchy film. The memorable thing about the movie is that Hanks, still one of the biggest stars on the planet, stepped up for his “Sleepless in Seattle” and “You’ve Got Mail” partner.

The cast, led by John Krasinski, who doubles as director, has its own fight against the lame and contrived script by Jim Strouse.

As a full-length film this fashion industry over-the-top farce about two hot messes behaving badly — and boozily — is both too much and too little.

Fun and likable, occasionally even delightful.

Even the obligatory blooper reel after the film isn’t as funny as it should be.

Writer and director Brian DeCubellis bathes the screen in dark shadows and provides fluid pacing. If you like your entertainment pulpy — and don’t mind swallowing cliches along the way — this “Night” is worth a look.

Moviegoers don’t get much to chew on either, besides a decent performance by Ewan McGregor as both Jesus and a demon, plus some OMG-worthy landscapes.

Among the lessons learned: marriages need tending and distance can make people closer. Not earth-shaking, but harmless. Like this sequel.

Luckily for Hello, My Name Is Doris, Sally Field is still so likable, really likable.