Mark Kennedy

Orion and the Dark is about fear and overcoming it but this movie directed by Sean Charmatz has too much junk clogging up the vision.

They Will Kill You may remind you of the marriage between madcap, social satire and bloody mayhem from “Ready or Not” but it’s a warning of how hard that combo is to get correctly.

The Bad Guys 2 has clearly lost its moorings.

Part of the problem of “Chapter 1” is that in addition to overstuffing it with too many characters, the editing is pretty bad. Viewers will struggle with some violent cuts in which Costner has jumped the action forward months within the same chapter without any clues.

Spinal Tap II is filled with ghosts. It’s like watching a cover band playing the hits but then realizing it’s actually the original band onstage after all.

It’s not as funny as it thinks it is and tiresome in its overly familiar redemption arc.

But It Ends With Us doesn’t end quickly enough — more than two hours drag — with tangents and poor editing, like sudden scene cuts that leave viewers looking for clues to where they are.

The problem with Men isn’t with the acting. It’s with a script that could be described as attempting at something like arty horror and can’t stick the landing. Often it is tedious, slow to build and pretentious.

Overly long, bombastic and poorly focused.

Overall, it’s just not so good, so good.

You’ve played Pokémon Go, right? Call this one Pokémon Don’t Go.

Look, we hate to break it to you, it’s not going to end well for many of this privileged set, as they hunt whoever is hunting them. Coherence is also stabbed a lot because a clear motive for the mass murder is really hard to understand.

A curious new animated attempt to monetize the comic icon again by giving him an origin story and then asking him to do things a galaxy away from what he does in the funny pages.

The Nutcracker and the Four Realms is visually marvelous, inconsistently acted and rather incoherent in that fantasy genre way.

Wonder Park has a great premise about a spunky kid engineer and a world she constructs taking flight, but takes a few too many dark loop-de-loops and crashes hard. If you pass this amusement park, skip it.

At the film’s center is Q but there is a hollowness there. She can rappel down a staircase using a fire hose, endure waterboarding and use a dinner tray as an assault weapon, but there’s little insight in her inner life or emotions and her backstory appears too late.

More concrete examples of how mushrooms or dropping acid aided life are sorely needed.

Lumbering along while fatally wounded, this is a franchise that doesn’t know it is dead, staggering ever onward without an ending in sight.

Ron’s Gone Wrong thinks it’s being subversive when its really being very corporate. It wastes its voice cast — including Olivia Colman, Ed Helms and Zach Galifianakis — and it never really connects, ending as awkwardly as a modern-day seventh-grader with a rock collection.

A satisfying conclusion awaits but, truth be told, it has been a bit of a slog, with soft digressions into social critiques and the meaning of faith grafted onto a setup that, by the third movie in the franchise, shows its seams instantly. Wake up, indeed.

Throughout The King, you can feel Jarecki desperately working, slicing, trying to make connections. What could have been a gentle, personal travelogue is reworked and reworked until it’s often guilty of the last sin of Elvis — excess.

The problem with Transformers: Rise of the Beasts is the same problem faced by all of the installments — balancing the humanity with the metal.

This dark, meandering and cliche-ridden bummer starring a trying-hard Jennifer Lawrence tries to reach for a cool and stylish look at contemporary spycraft but often falls victim to cartoon violence and a muddled story. The creators may call it erotic but it’s as erotic as a visit to the dentist.

Credit goes to the film’s visual effects folk, who made fur alive and gave texture to smoke. But retreading this story with a Cumberbatch, should send Hollywood bigwigs into the booby hatch.

The first half doesn’t fit with the second half, there are too many distractions and the filmmakers think it’s clever to leave clues but they do it clumsily and at the last minute and it’s really exhausting for the viewer.

A new directing and writing team fails to shock or scare with a color-by-numbers plot and a meandering, languid wannabe frightfest.

A bewildering 90-minute, narrator-less and wordless experiment that’s as audacious as it is infuriating. It’s not clear if everyone was high making it or we should be while watching it.

Paramount’s limp, animated remake actually triggers new stereotypes in the service of trying to expose racism for a pre-teen audience. The studio seems to have reached for legitimacy by bringing the venerated Brooks along for the bumpy ride, darkening both legacies. What emerged sits uneasily at the corner of tribute, parody, theft and laziness.