Richard Roeper

Rampage might not be the worst movie of the year so far, but it’s a contender for most pointless.

Underwater breaks no new ground as a sci-fi horror flick — other than as a possible contender for the murkiest movie ever made.

The Hollars is an uneven, ineffective and self-conscious dysfunctional family comedy/drama with a Sundance-y vibe, and scene after scene in which the greatly talented and usually quite likable cast members keep stepping in big piles of wrong choices.

​I’ll tell you what got Taken. A hundred and twelve minutes of my life got Taken.

Stiller the director does a fine job of making Zoolander 2 look like an actual spy movie, but we’ve seen far better takeoffs, including “Spy” and “Kingsman: The Secret Service” in just the last couple of years. As for the jabs at the transient nature of popular culture and the ridiculousness of high fashion world — easy, tired targets.

In the lurid and cheesy and sometimes unintentionally funny political thriller Runner, one of the most intriguing and eclectic casts of the year is wasted in a murky cesspool that comes across as a third-rate version of “House of Cards” with a little bit of “Scandal” thrown in for bad measure.

Zipper might be entertaining enough in a campy way for you to watch it on demand as long as you’ve got a really big bowl of popcorn and an even bigger glass of wine (or the non-alcoholic elixir of your choice) to get you through. Might. Be.

This is an astonishingly uninvolving and at times almost laughably melodramatic effort, marred by overwrought voice-over narration from Theron, a relentless barrage of scenes depicting horrific human suffering and a love story featuring one-dimensional characters we don’t particularly care about.

Tom Hardy is one of the best actors in the world, but as he flounders his way through Venom, we’re reminded even the finest talents can sink under the weight of a terrible movie.

The only thing less satisfying than the build-up is the finale, which goes from mind-boggling to you’ve got to be kidding me.

In the case of David O. Russell’s jaw-droppingly terrible, aggressively tasteless, profoundly unfunny and interminably dull conspiracy thriller and would-be comedy “Amsterdam,” the all-star ensemble has less chemistry than a high school freshman on the first day of class.

Intrusion is a derivative, manipulative, convoluted and dopey story that dishes up one scary movie cliché after another before careening out of control with a late plot development so insanely implausible, so far out of left field, it’s as if someone accidentally deleted 20 pages of the script during production and nobody noticed.

Virtually every big twist and every major reveal in The Commuter is telegraphed well in advance, and from the moment the train leaves the station and the story really begins to kick into gear, we find ourselves rolling our eyes about every 10 minutes.

All the cutting-edge pyrotechnics in the universe can’t overcome the uneven (and ultimately unsatisfying) screenplay.

How bad is “Fallen Kingdom”? How terrible is a movie that pounds us with a pretentious, nearly operatic score while indulging in B-movie clichés and calling for the main characters to make idiotic decisions just to keep the story rolling? I have to dig deep into the Awful Sequel Playbook to draw parallels to this exercise in wretched excess.

Throughout the game, during the action sequences and especially during the timeouts and strategy sessions, the “celebrity” fans are a huge distraction — and making things even more bizarre, their numbers include Pennywise the Clown from “It” and the murderous, rapist gang known as the Droogs from “A Clockwork Orange.” Who in the name of Bugs Bunny thought this was a good idea?

It’s just an awful and ridiculous and clumsily edited B-movie mostly of interest because of the name cast, an insanely horrible concert within the film — and the incredible back story about the making of “Grizzly II,” which could be great material for a fictional adaptation a la “Argo” or “The Big Short” or “American Hustle.”

The whole thing is just so sloppy and dumb and overflowing with clichés.

A clumsy, off-putting, uninvolving hybrid of domestic tragedy and sci-fi drama with zero payoffs and one of the most infuriating codas of any movie this century.

It’s potentially fresh and unique material, but from the first scenes through the tone-deaf conclusion, Capone is a noxious film about a noxious man — a gruesome and grotesque viewing experience that tells us nothing new about Capone while rubbing our noses in one detestable scene after another. By the time we get to a typically overblown scene in which a diaper-wearing Capone wields a gold-plated Tommy Gun while on a shooting spree, we surrender.

Imagine how great it would be to see a vehicle worthy of the respective likability, comedic chops, intelligence, onscreen charisma and beauty of Tiffany Haddish and Rose Byrne. No, I mean you’re really going to have to imagine that, because Like a Boss is not that movie.

A cringe-inducing mess.

It’s sloppy to the point of distraction — not that the forced hijinks and ridiculous storylines are actually worthy of our attention.

What a waste of a wonderful cast.

Most problematic of all is the character of fictional FBI Agent Jack Solomon (Jack O’Connell), who is tasked with leading the surveillance and digging up dirt on Seberg and becomes deeply conflicted about his job.

This is two hours and 27 minutes of pure dinosaur droppings, and the viewer is as helpless as a boat passing under a bridge on the Chicago River as the Dave Matthews Band unloads a torrent of foul waste from above.

Despite the considerable charisma of Kevin Hart and Josh Gad and a strong supporting cast, The Wedding Ringer has only one or two genuinely inspired bits of comedy, a few dopey moments when you laugh in spite of yourself — and long, long stretches of pointless montages, loud and unfunny physical shtick and far too much reliance on gay “humor."

In the case of the awkwardly titled, swing-and-a-big-miss workplace comedy A Happening of Monumental Proportions, there are numerous scenes so tone-deaf, so off-putting and fundamentally unsound in structure and dialogue, the execution of those sequences is doomed from the get-go.