Neil Genzlinger

The movie tries for propulsive Tarantino grit but ends up being just another annoying example of Hollywood’s addiction to stories in which graying white men bed beautiful young women and beat up men much more youthful and fit than they are.

The Ottoman Lieutenant is an overwrought nurse romance merged with a history lesson, a combination that is hard to take as seriously as the film wants to be taken.

You don’t need an animal-rights group’s boycott to give you permission to avoid A Dog’s Purpose. You can skip it just because it’s clumsily manipulative dreck.

Underappreciated occupations deserve better than the cliché-clogged, utterly predictable Life on the Line, a terrible movie about the workers who keep the electrical grid functioning.

The film, directed by Mario Van Peebles, brays the story in broad strokes and clichés as if the horror of it didn’t speak for itself, which it most certainly does.

My Dead Boyfriend desperately tries to look and sound like a quirky indie hit, but that’s not an achievable goal when you have an unlikable lead character indifferently rendered by a name star.

The movie isn’t interested in fully developed characters, just carnage.

John Moore, the director, and Dan Kay and William Wisher, the screenwriters, don’t have anything new to add to that familiar dynamic.

Everybody involved with the awful comedy Is That a Gun in Your Pocket?... owes Aristophanes an apology. It’s one thing to borrow a guy’s premise; it’s quite another to transform it into something this unwatchable.

There’s not an ounce of suspense in any of this, because you’ve seen it all before, and the director, Jon Cassar, seems uninterested in veering from the well-established formula.

Every new generation has to learn the lesson: Comedy success on the small screen doesn’t guarantee the same on the big screen. If anything, it guarantees the opposite.

It’s not clear whether The 9th Life of Louis Drax is deliberately inconsistent or merely an example of confused filmmaking. One thing is certain, however: It sure leaves an unpleasant aftertaste.

Skiptrace settles for a warmed-over plot, tedious fight sequences and humor that’s heavy on crotch jokes and pratfalls.

The film, derivative (see “The Shaggy Dog” of 2006) and devoid of wit, is about that tiredest of kid-movie clichés, the parent who is too busy for his children and must be taught a lesson.

A film that tries to be both titillating and suspenseful but is neither.

If it were at all original, Andron would be merely a bad movie poorly executed. That it is instead a knockoff of “The Hunger Games” and “The Maze Runner” makes it all the more condemnable.

Mothers and Daughters is full of recognizable stars and heartfelt conversations. Unfortunately, it’s largely devoid of the kind of character development that can give such conversations real impact.

It somehow manages to feel more like a Hallmark Channel romance than like a serious film.

The film doesn’t have the focus, pacing or plotting of the best of such bromance tales.

Will this hard-luck president again defy death while his stoic sidekick vanquishes the nasty, uncivilized terrorists? It’s hard to care when a movie is this formulaic and moronic.

A dreary Australian movie, directed by Nick Robertson, that has more dogs than “Cujo” but noticeably less plot.

Lazer Team ends by setting itself up for a sequel, but that’s mighty wishful thinking. There’s not a big demand for laugh-free comedies.

Even before a “do as I say, not as I do” twist costs it all credibility, Prescription Thugs is a not very good documentary about a very important subject.

Though Mr. Grint and Mr. Perlman both come off credibly, the movie is practically laugh-free.

The Sarah character isn’t developed well enough to make her journey enlightening or involving.

The sci-fi premise that drives the thriller Reversion is probably close enough to being a reality that the movie should raise goose bumps. Instead it’s uninvolving, thanks to uninspired acting and a script that doesn’t take the central idea very far.

You can get away with this sort of thing if your humor is sharp, but here it’s mostly sophomoric and rarely surprising.

Ms. Harden is fine in a role that requires little, but her character is a lazy stereotype that ought to make real librarians wince.