It's the PG-13 version of "The Hangover," and more than anything, that's just boring.

The folks behind Free Birds are trying to entertain us. But they rarely succeed.

For all the well-traveled roads in Girl Most Likely, Berman and Pulcini bring a sweetness to the material that suits Wiig’s offbeat talents. We know we’re being played, but really, if we’re enjoying it, why complain?

It's definitely not taking advantage of a talented supporting cast, as Greg Kinnear, Kelsey Grammer, Seth Meyers and Christina Hendricks are among those wasted.

If there’s any social commentary being made here, it doesn’t come through in performances so wooden you can’t tell if the actors are that bad or the characters that vapid.

There is very little on the screen to capture your attention.

The film goes all in on its deranged version of the founding of the nation. It wears you down over time, but especially early on it's too satisfied just to be shocking and irreverent.

Everything is overwrought, every circumstance a potential tragedy. Humor is largely absent.

There is a really cool idea at the heart of the film, which brings together the cast of the original “Jurassic Park” movies and the cast of the latest bunch from the “Jurassic World” ones for the first time. Although they’re kind of like guests staying in different parts of the same hotel who just happen to run into each other at dinner.

In effect this is a pretty standard overcoming-adversity story, particularly with the more politically oriented social observations removed. What isn’t standard is the acting.

The film is not without charm, much of it provided by Larson as the sneakily demanding Brie. Liu is also funny and vaguely dangerous, while Henke is an agreeable presence. As for Hall, he's not asked to do much more than mope.

It falls to Wright and Watts to shoulder the heavy lifting here, and they do so with as much grace as the plot will allow. Adore isn’t the feminist medication Fontaine probably means it to be, but it’s not the unintentional laugh riot it could have been in lesser hands, either.

A lush but fumbling literary melodrama outfitted with an attractive, generations-spanning cast and a puzzle box of three competing narratives.

It’s an awkwardly constructed movie that doesn’t really gel.

As with any movie of this sort, there are a few laughs. Johnson is as likable an actor as there is, and it’s to the actors’ credit that they buy in to the stupidity. But there aren’t enough laughs and not nearly enough story.

The script, written by the actress, is downright wretched at times.

Aardvark, while it has its moments, never lives up to the potential the cast would suggest.

Most of the time, it simply coasts along at the level of a typical Lifetime TV movie.

There aren't any scares to speak of, though there is some gore. The cast is game to try anything, but there's just not much here for them to work with. Like most zombies, Burying the Ex is an idea that should have stayed dead.

The story is a grab bag of only-in-the-movies kid problems and ridiculous adult behavior.

This is a rich, and important story. There’s no argument there. The only problem with “Son of God” is that there are much more compelling ways to tell it.

When an inane ending appears out of nowhere and purports to add depth to a movie which has little? That's just maddening. And the twist in Serenity leaves you feeling both cheated and annoyed, which surely isn't the filmmaker's intention.

Star power can cover up a multitude of shortcomings in a film. Turns out stupidity isn't one of them.

An improvement. Not a gigantic leap forward for cinema but, armed with a new director, a new story and the return of a trying-harder Worthington and good ol' Liam Neeson as a put-upon Zeus, a marked upgrade in quality.

The Lone Ranger is a frustrating exercise in overkill, a kind-of, sort-of interesting idea buried in summer-movie excess.

Told in such predictable and bland fashion it dulls the effect. And this in a movie with Robert Duvall, Lucas Black and Melissa Leo.

Guilt, grief and the struggle to move on are big themes, but unfortunately, director Burr Steers and his script writers aren't interested in exploring them.

For a film that purports to love dinosaurs, this bigger, flashier Walking With Dinosaurs sure doesn’t trust them to be interesting enough to carry five minutes of a movie without the copious aid of slapstick and bathroom humor in a screenplay so rote it makes creatures that have been dead for 65 million years feel less fossilized than the jokes.