Sara Stewart

It is admirably unsparing and gloomily atmospheric. And I looked at my watch a bunch of times.

Director Peter Chelsom (“Hannah Montana: The Movie”) and screenwriter Allan Loeb (“Collateral Beauty”) squander countless opportunities to make this fish-out-of-water story intellectually curious or even much fun.

A warm-hearted and ambitiously honest look at the pros and cons of monogamy, but it tends to be understated to the point of underwhelming.

Even an 11th-hour cameo from the late Dick Gregory as Ella’s long-ago boyfriend can’t keep The Leisure Seeker from being, well, forgettable.

Despite all its problems, The Last Days on Mars serves up a deliciously shivery hypothetical: Wouldn’t we all secretly love it if the Mars rover sent back footage of a “walker” or two?

The intriguing story behind Seberg and the always-interesting Kristen Stewart promised greatness. But this biopic squanders both; it’s a bland period piece with an irritating lack of focus.

The film strains credulity as it hurtles toward its conclusion.

Salma Hayek, as their vengeful ex-boss Eva Torres, is fun to watch as she plots to outwit them time and again, but ultimately, there’s no one here to really care about.

A rather unremarkable, if endearing, entry in the quirky rom-com genre.

The tone and focus of David Gordon Green’s Manglehorn careens around so much it’s hard not to end up as irritable as its title character.

The romance between Winslet and Schoenaerts — billed as the film’s centerpiece — is, regrettably, never really allowed to bloom.

More frustratingly, Brooks jumps back and forth in time between the couple’s past relationship and the current day, with nary a physical or emotive change evident in either party. It becomes a task just to figure out which timeline you’re in, and then convince yourself why you should care.

A horror movie with an anti-globalist bent that’s more interesting than its halfhearted scares.

Whether you dig this aggressively campy horror-comedy is, to some extent, dependent on your squeamishness.

Movie adaptations shouldn’t require that you know their source material. But in the case of The Glass Castle, it’s impossible not to just say it: You’re better off reading the book.

[JK Simmons] provides a little comic relief, and sums up my feelings on this whole outing: “Goddamn time-travelin’ robots!”

For a company that purports to be all about sparking creativity, asking a kid to follow Ikea-evocative directions to assemble an X-wing fighter seems at odds with the mission.

Mostly, though, it’s the same old story: Bad mutants versus good mutants, with the fate of us humans — mostly off-screen, disturbingly expendable — hanging in the balance.

Heavy on quirk and light on wit, first-time director Gillian Greene’s comedy leans too heavily on the badly wigged Kranz.

The birth of the titular infant — what the whole movie’s leading up to — is just an anticlimactic mess.

On the whole, the film would probably be more at home on cable and at a reduced running time. I’d like to see a competition series of the same name, in which rival engineers compete to see who can endure having the hard-driving Cameron for a boss.

I know this is a teen-boy fantasy — it was produced by Michael Bay, after all — but the female characters in Project Almanac are lamely retro, little more than props in short shorts.

As a distinctly not-insider, though, I would have benefited more from a broader portrait of the woman herself, and how she became such a legend.

The idea of combining creature-feature invisibility with domestic-abuse gaslighting — playing with someone’s reality to make them think they’re going insane — is inspired. This middling horror film, regrettably, is not.

Too often content to smile beatifically instead of delivering the necessary thrills.

Zoey Deutch is fine in a non-demanding role as the requisite starry-eyed female student, and Danny Huston (“Wonder Woman”) gives us a softer side as Richard’s weepy best friend. But this is, at its core, a one-man show, and given the uncertain future of Depp’s career (being axed from the “Pirates of the Caribbean” franchise, for example), it might also have been titled “Johnny Says Goodbye.”

It is a truth universally acknowledged that Pride and Prejudice and Zombies is a pretty silly idea. So why on Earth is this movie, based on the satirical book by Seth Grahame-Smith, not having more fun?

From time to time, it works.