Peter Keough

The concept is derivative of about a dozen other movies and their sequels.

Shot in a rich palette, the film does provide diversion with some of its funkily detailed sets and supporting actors.... Otherwise, the film distinguishes itself for its miscasting and misuse of its cast.

Kevin Costner should stop trying to be so nice. His best performances have been as baddies.

As for the dialogue, although the characters talk really fast, swear a lot, and overlap their lines, what they’re saying isn’t very funny or authentic. It’s as if David Mamet collaborated on writing an episode of “Two and a Half Men.”

An effusive, sad, visually gorgeous, and illuminating portrait of the artist.

Zada gets credible performances from Dormer and Kinney, but their characters undergo such unlikely psychological contortions that these efforts are to no avail.

As the film darkens, it intensifies its focus on tragedy and atrocity and begins to do some justice to one of the largest and least known genocides in history.

“You don’t need a man to define you!” Very true, and so much for feminism. The rest of the film takes a long, convoluted, predictable, and mostly unfunny route to prove that the opposite is the case.

Greer and Lyonne play off each other well; the combination of readily corruptible innocence and reluctantly innocent corruption elevate the material. Their badinage and interactions suggest a genuine sisterly relationship, with a long history of resentments, betrayals, and co-dependence. Too bad the filmmakers try too hard at making you laugh, and not hard enough at making you feel.

It tries to bridge the gap between pop culture and cultural elitism, between high art and the common commodity that everyone else buys tickets to see. A worthy goal, but it results in a movie that has none of the virtues of either.

One thing you have to give Bay credit for: He has a knack for bringing A-list talent down to his level. Like Mark Wahlberg, Oscar nominee for “The Fighter” and “The Departed.”

Things bottom out when Zoe not only hooks up with another lover (there is not an ounce of body fat in this movie), but also misses her son’s soccer game. And up until then we were all having a good time.

Just because Rad — who died in 2007 at the age of 70 — wasted 26 years bringing Dangerous Men to the screen doesn’t mean you should waste 80 minutes watching it.

Almost all mainstream movies steal from other movies, but the better ones get away with it because they possess some distinctive identity. The best that Ken Scott’s Unfinished Business can come up with is Vince Vaughn — as the straight man.

Despite such attractions as Gabriel Byrne as a vampire with a skin disease and a décor that combines Hogwarts with “Suspiria,” the only lesson learned here is that Hollywood needs fresh blood.

To its credit, despite a rough start (witch burning and all that), Seventh Son does not succumb to misogyny.

The film is so bizarre, contrived, manipulative, and meretricious that anything is possible.

It will also make them laugh. Intentionally or not, director Rob Cohen (“Alex Cross”) has put together the most hilarious camp classic since “White House Down” (2013).

Roland Emmerich’s Stonewall reduces these events to a backdrop for caricatures that were already passé in William Friedkin’s “The Boys in the Band” (1970).

Though Zefferelli’s version was trashy and downright nuts, at least it made you feel the love. This pallid replay just seems endless.

Occasionally the camera gets jumbled around, blacks out, and hisses with static as if it had been tossed in a dryer. Then it regains composure and reveals — an old playbill! A figure in a mask with a noose! The birth of a new franchise and the death of a great genre.

Though not everyone agrees, Ben Stiller’s “The Secret Life of Walter Mitty” came close to finding the secret for making a movie about the secret of happiness. Peter Chelsom’s Hector and the Search for Happiness tries hard, but fails. Miserably.

Isn’t fate a funny thing? Especially when Nicholas Sparks makes it up. Filmmakers love to adapt his stuff because he puts together narratives riddled with contrived coincidences and implausibilities meant to seem like the workings of providence when in fact they are the creations of a hackneyed mind.

It’s a Christmas nightmare, stuck with two obnoxious relatives who think they’re funny, and won’t shut up.

Stunningly insipid and pretentious.

If you close your eyes you’d think it was a commercial for a “Great Love Songs” DVD collection.

Denounce the cynics who pander such pabulum as entertainment for children.

Grown Ups 2 offers a bittersweet paean to childhood and youth and their inevitable loss. Take the case of Adam Sandler. Didn’t he use to be funny?