If you like a little bit more in a movie — say, characters that are mildly interesting or a plot that's a wee bit logical — stay far away.

It doesn’t take long to suspect you are witnessing an epic fail of Alexander proportions — a visionary filmmaker pouring years of craft and ambition, not to mention millions of dollars and the talents of dozens of gung-ho actors, down the drain of a misconceived “statement.”

The goal here was to show the tragic downfall of a once-praised hero, similar to the actual poem written by Wilde with the same name. But because of the lack of depth in supporting characters and half-baked writing, this movie couldn't have ended fast enough.

It’s hard to get excited about any of the on-screen happenings, because director Justin Lin can’t seem to hit the right notes.

Long-winded, tiresome and free of any tension, The Company You Keep will ultimately be remembered as a Redford vanity project, in every sense of the word.

A mean-spirited little movie, investing its limited charms in all the wrong characters.

These supremely talented women are put through embarrassing paces by director and co-writer Bill Holderman. It’s meant to be a film about a reawakening of desire, and thus life. It turns out to be a wince-inducing mess.

While its audacity is laudable, the film ultimately has all the thrill of watching someone else play a first-person-shooter video game.

There are plot twists galore, but they unfold in ham-fisted fashion, as if the screenwriter (newbie Brian Tucker) didn't know how to layer the mystery. Instead, the movie simply drops these secrets out of nowhere, in clunky fashion.

While the film’s last 30 seconds are refreshing, they hardly redeem the previous 90 minutes of utter predictability.

It’s all predictable and, despite the best efforts of Turteltaub and screenwriter Dan Fogelman at something a little risky, it’s pretty lame.

If you have young kids and want to spend two hours out of the house in a cool, air-conditioned theater, then go see “Haunted Mansion.” But if you can hold out until it’s released on Disney+ all the better. It’s really not worth spending money on the ticket.

Journalists deserve to be heralded — just not in this holier-than-thou cinematic cri de coeur. So, on behalf of journalists everywhere, I have to tell Mr. Reiner thanks, but no thanks.

The movie... keeps things surface-level when it comes to Bieber’s life and doesn’t give fans any new insight into the pop star that they haven’t been able to glean from his social media posts.

The dialogue is agony.

Vincent Grashaw's film, although well-meaning (as a postscript reminds us), tries too hard, both in content and form.

It's all-around generic, made notable by its weirdly schizophrenic tone. Sometimes it strives to be a character-driven thriller in the Jason Bourne mold. In other moments, it goes for over-the-top action and violence. But it's never very exciting.

Overall the film is goofy, slight, without a truly deep thought in its pretty little head. And for a movie with vampires and werewolves, the only scary thing is in the title - "Part 1," which means "Part 2" is on its way. Shudder.

It comprises some 20 talking heads, each pretty much saying the same thing, interspersed with film of children dressed up as mythical heroes, enacting the stages of the "hero's journey."

Mean-spirited.

What a mess. Its meandering plot draws attention to the alarming lack of laughs — not what you look for in a supposed comedy.

In fairness, you can say that Mortal Kombat is pretty much exactly what you expect it to be. It’s clearly meant as the first film in a renewed franchise. But for me, it’s game over.

The purpose of San Andreas is not to make us think, but to make us gape, to pummel us with effect and effect until we finally give in. Fair enough. Uncle. I need a Tylenol anyway.

The Purge is one of those unimaginative horror flicks that depend on skreeky music and sudden appearances to startle, but never actually frighten, the audience. The characters are undeveloped, the twists clumsily telegraphed and unsurprising.

It fails to offer as single compelling character as a sacrifice to the angry volcano.

Josh C. Waller’s movie is just prurient nonsense, a film only a couple of notches up from the women-in-prison films that were popular years and years ago.

Jenkins is a fantastically adaptable talent. It helps that his character here is supposed to be innately likable (by everyone, evidently, but his girlfriend's family), since Jenkins is so likable as an actor. Good thing, because there is little else to like about Darling Companion.

Without Lohan, Falling for Christmas would be another of the near-anonymous morass of holiday movies so prevalent during the season. Even with her it’s not much more.