Rene Rodriguez

There isn’t a moment of spontaneous fun or humor in this long, turgid movie, the latest let-down for rabid DC Comics fans who’ve been waiting for someone to pick up the baton Christopher Nolan left behind and do this universe justice. With “Suicide Squad,” the long wait continues.

The Legend of Tarzan doles out big beats of action at regular intervals to keep you awake, like a drunkard clashing trashcan lids in an alley late at night. But your eyelids grow heavy anyway.

The Warcraft hardcore can rejoice. Everyone else can move along. There’s not much to see here.

Played by Adrian Sparks in a style better suited for dinner theater or a Key West tourist attraction, Hemingway comes across as a complete cypher. Everyone in the film keeps talking about his genius, but other than a scene in which he writes a short story on the back of a napkin, the movie doesn’t try to humanize or explore his talent.

Demolition is so busy trying to be profound, the film doesn’t have much use for humor.

Most of this is tedious instead of unintentionally amusing.

What ultimately sinks The Visit is that Shyamalan, who had previously come up with new and ingenious ways to frighten us, resorts to familiar jump-scare tactics in which things suddenly pop into the frame, accompanied by loud sound effects. There’s no real sense of danger, no menace.

Fantastic Four is so bereft of all the things we expect from a superhero movie — humor, excitement, adventure, awe — that it plays like a drawn-out pilot episode for an upcoming TV series no one would ever watch again.

Jurassic World gives you exactly what Howard’s character promises at the beginning — More! Bigger! Faster! — but you know there’s something deeply wrong with a film that expects you to shed tears over digitally created prehistoric creatures and rubber brontosaurus heads instead of rooting for, you know, people.

This is pure Disaster 101 formula, although distilled to the minimum amount of dialogue and characters possible.

Sadly, Jupiter Ascending turns out to be the exact opposite: the worst movie the Wachowskis have ever made.

The film is so gleefully ridiculous that you start to suspect the filmmakers were in on the joke and forgot to tell the actors.

Once the premise has been established, the film goes absolutely nowhere.

The things that stay with you are the dull, boilerplate love story, the laziest performance of Liam Neeson’s career as a murderous gunslinger and the distracting amount of makeup Seth MacFarlane sports in the film.

A wan gloss on a horrific nightmare.

Transcendence is "Her" for dummies.

The movie, however, is the sort of picture in which people run around doing everything except the most logical thing to do, because that’s the only way to keep the nonsensical plot spinning.

The lack of effort, right down to the unimaginative title, is dispiriting.

Homefront is done in by uninspired action scenes in which Statham’s athletic prowess is rendered unwatchable by hyper-editing, a shameful reliance on child-in-peril cliches to move the story forward, and so many loose ends that you wonder if 20 minutes were accidentally cut out from the movie.

In its early moments, the movie evokes everything from "The Social Network" to "Casino." By the end, the film has become as exciting as a game of Old Maid. R-rated thrillers are hardly ever this dull and listless, but this movie manages to eradicate all of Timberlake’s charisma and makes you flash back to Affleck’s "Paycheck"/"Gigli" era. How does this even happen?

Director Stuart Blumberg’s movie, which features a surprisingly starry cast, comes off as superficial and trite.

Only genuinely talented people can make pictures this bad and misguided. “This whole thing is unacceptable,” Lil remarks at one point. That goes for the movie, too.

The entire movie bears the whiff of a vanity project — a modestly budgeted bone Universal Pictures threw at Diesel so he would keep starring in Fast and Furious pictures. Those movies are bank; Riddick is rank.

Getaway makes the Transformers movies seem like they were shot in slow motion. You see all these vehicles smashing into each other, but the movie is never thrilling.

You’re Next is built on such an enormous pile of guff, it’s practically insulting.

The times have caught up with Almodóvar, who is now 63: He thinks he’s still pushing the envelope, but he comes off as old-fashioned and outdated.

The Purge isn’t just stupid; it’s also pretentious and often makes no sense.

There’s exactly one good scene in all of The Hangover Part III, a hilarious bit of business halfway during the end credits that reminds you what made the original film so good.