Joe Dziemianowicz

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

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.

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.

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.

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.

It’s visually sumptuous but laborious. Worse, it’s pretty humorless. Knight of Cups takes itself very seriously.

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

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

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

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

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.

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.

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

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.

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.

The story submerges and drowns in preposterous gothic nonsense.

If you go searching for an original idea in this tiresome thriller about a soul-sucking demon doll, you won’t find one.

It takes its sweet time to achieve anything beyond being a grueling snoozefest.