Soren Andersen

All things considered, this pitifully plotted Belgian-French production represents the nadir of animated movies released so far this year, a farrago of frantic action and mindless cacophony.

Watch this movie and you might die, of boredom.

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

Smith, on the other hand, throws himself avidly into his work, communicating a, uh, biting malevolence and sick glee in his portrayal. The picture only truly comes alive when he’s masticating his scenes. Otherwise, “Morbius” is dead at its center.

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

Weaver’s Kay is a fanatic.

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

In the vast canon of King-derived movies, “Tower” belongs in the upper ranks.

Shouting and struggling, poor Pratt vainly tries to give his character dimension and some sense of sympathy. So genial and engaging in the Guardians of the Galaxy series, Pratt flails grouchily and ineffectively in Mercy.

A confused mishmash of plot elements featuring overwrought extraneous characters. Kids likely will love it. Their parents will just have to grin and bear it.

The fact that Bracey is the equivalent of a charisma black hole (at the movie’s center, there is no there there) and the further fact that the movie runs out of plot long before it runs out of stunts to showcase, make Point Break a remake that ought not to have been made.

Exposure to Alvin and the Chipmunks: The Road Chip may result in the dislocation of eyeballs in viewers over the age of 7 due to uncontrollable rolling of the eyes at the sight of the idiotic antics committed on screen. To avoid eye strain, which is to say, eye sprain, avoid this movie at all costs.

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

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

The nonstop silliness of this picture leaves one choking on stifled laughter.

This picture stands as the best argument yet that the YA dystopia cycle has passed its sell-by date.

Paula Patton, playing a half-orc, half-human female warrior, is the most sympathetic character and actually gives something approaching a fully fledged performance, but for the rest of it … ugliness as far as the eye can see.

Very, very late in ECCO’s two-plus hour running time, answers come. It’s a long wait for clarity. From the viewer, much patience is required.

The Book of Henry launches itself into cloud cuckooland and never returns to Earth.

In the matter of searching for work in a difficult economy, Get a Job traffics in fairy tales that come complete with happily-ever-after endings.

The gunplay is primary though there are some obligatory scenes of martial arts fights.

A colossal waste of time and the moviegoer’s dollars. That’s the bottom line of Daddy’s Home 2.

Screeching, screaming, bouncing around the galaxy. Insufferable. And seemingly interminable.

The action is pumped up. The destruction is extreme. The whole thing is absurd.

Offering only an atmosphere of deepening gloom and a premise of utter hopelessness, Man Down is like movie antimatter: It repels interest.

A joyless experience.

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.

For a fun time to dispel the gloom of January, Dolittle is just what the doctor ordered.