Soren Andersen

All of it feels warmed over, reprocessed … and, yes, confused.

Criminal has a strong supporting cast, but the big names aren’t doing much beyond the bare minimum to qualify for a payday.

[Neeson's] impressive physicality, (a tower among men), his rumbly basso-profundo voice and his impressive demeanor give him a natural gravity that allows him to rise above the most absurd material. And he does exactly that in The Commuter.

It’s Honeyglue, a romantic drama, which fittingly, given that title, is sticky with sentimentality.

Many decisions...make “Batman v Superman” a joyless slog.

Elba, always a powerful presence in whatever role he takes on, does the best he can in Beast, but the threadbare nature of the plotting and dialogue ultimately defeats him.

A more disagreeable collection of cynical, backstabbing, self-aggrandizing, shallow, vicious and vile specimens of humanity gathered together in a single motion picture would be difficult to conceive of.

Once it gets going, Black Adam feels like a continuous closed loop of destruction where the moments of mayhem blend darn near seamlessly one into the other. And those special effects look incredibly cheesy.

When words fail in The Last Knight, the crunching and crashing and KLANKing of the special-effects scenes take up the slack. Punishingly overwrought in every aspect, Last Knight is a KLANK! KLANK! KLUNKER.

It’s a mishmash in which characters are thrown from dimension to dimension and from dream to dream. The main character, played by Bannister, is forever baffled as to what his actual reality is. His bafflement is shared by the viewer.

A joyless experience.

We can see everything that Manhattan Night has in store from a mile off. Every step of the way it’s predictable. And that predictability makes it tedious.

The movie’s unrelenting sensory onslaught is exhausting. It’s torture to sit through.

It quickly becomes apparent that the narrative content of “Kingsglaive” is a barely coherent muddle.

Only the super-speedy Flash, played by Ezra Miller, lightens up the proceedings. Miller’s goofy eager-beaver take on the character, very reminiscent of Tom Holland’s Spider-Man, is the picture’s saving grace.

It’s a rare misstep for the usually sure-footed folks behind the Marvel Cinematic Universe.

The whole picture is an exercise in obvious effort, try, try, trying really hard to win the audience’s affection. However it only succeeds in trying the audience’s patience. It’s a trial.

The fight scenes, full of swordplay and gunfire, are choppily edited and somehow lackadaisical. It’s as though Schwentke was operating from a checklist of expected action-movie clichés and hurries through them all.

A picture in the running for the dubious distinction of being perhaps the worst Marvel-derived origin story ever.

Coerced jollity is the order of the day in the kingdom of trolldom in this animated kids movie from DreamWorks. And I do mean order.

Cheap and cheesy at every level, this Ben-Hur barely qualifies as an epic. It’s a wholly unnecessary addition to the venerable franchise.

It’s all just a day at the beach, harmlessly fun and instantly forgettable.

Although the sense of being inside a video game is strong, one critical element is lacking: interactivity. Players are always working their controllers to send characters on their complicated journeys. They’re participants. A movie, by its very nature, turns everyone into spectators. We watch, but have no control over what we see. And what we see in “The Super Mario Bros. Movie” is nothing more than empty-calorie visuals.

A more self-impressed movie than Dicks: The Musical would be hard to imagine.

There’s a problem with Popstar: Never Stop Never Stopping. It’s attempting to mock something that is beyond mockery.

There’s no problem keeping up with these Joneses. The audience is way ahead of them every step of the way.

The game, propelled by twitchy point-of-view camera work and abundant jump scares, is fast-paced. The movie is anything but.

Director Malcolm D. Lee, whose previous movie, 2017’s raucous “Girls Trip,” gave Haddish her star-making breakout role, does her no favors here. In this mess of a movie, her performance is merely adequate. She, and the audience, deserve better.