Beyond the Reach is a misfire, one of those movies that never quite rises to the level of guilty pleasure.

The movie is plagued with long stretches of dialogue-free contemplation and static shots of nature happening. At only 83 minutes, the film is too slight to feel so padded.

It takes effort to turn a movie with a cast as appealing as the one in The Longest Week into a grating exercise in narcissism, but writer and director Peter Glanz proves up to the task.

There are a few laughs here and there, along with a couple of jokes for grown-ups uncomfortably squeezed in. But this is a movie made for two groups: small children and people who have fond memories of the TV show.

There should be a sense of, yes, wonder at play at all times here. Too often “Alice Through the Looking Glass” feels like a slog through time.

Diggs does what he can with the part, as does Patton. There are some funny moments, because most of the cast is so charming. But not enough to make up for the Stone Age attitude about women and marriage.

The Possession of Michael King is more scary than original.

It’s not clear that the movie has anything to say, new or otherwise. . . . Other than that it’s just blood and guts, and lots of it.

Ultimately, the film is never boring, but it's never involving, either. At the end, what you're left with is a modestly entertaining film that doesn't seem to have an original thought in its head. In that way, it's a lot like the characters it spotlights.

The movie is much like its hero, Freddie — straightforward, sweet, hard-working and predictable.

Although it won’t win any points for originality, it is a fast-moving little chiller filled with creepy atmosphere and convincing performances.

It’s a stumble down the catwalk not even Blue Steel can save.

There's far too much going on in Valentine's Day, and far too little of it is worth the trouble.

Safe Haven plays out less like a love story than it does a two-hour audition tape Julianne Hough commissioned to land a lucrative lip-gloss-modeling contract.

It wouldn’t make the movie good, but at least a meteor strike would preclude the possibility of a sixth “Ice Age” film.

Ultimately, and perhaps most disappointingly, The Mummy winds up being not so much its own movie as what, by the end, feels like the first episode of a show that's already been renewed for several seasons. Because, in some respects, that's what it is.

This is a funny movie, in places.

There’s a freewheeling spirit to The Bubble that’s meant to reflect the times during which the film was made, but instead of creative forces finally unleashed it comes off as half-baked, more like a first draft than a finished film. Apatow knows comedy, and his intentions here are good. It’s just the movie that isn’t.

Jonah Hex somehow manages to waste the talents of Josh Brolin, John Malkovich, Michael Fassbender, Will Arnett, Aidan Quinn and Jeffrey Dean Morgan in a story that combines vengeance, the occult and an Old West war on terror (really).

The movie presents a cute lesson about the importance of family sticking together.

The utter lack of surprises and waste of a first-rate cast — Anthony Hopkins as Alfred "Freddy" Heineken; Jim Sturgess and Sam Worthington as kidnappers — make for a tremendous letdown.

The whole thing is sentimental corn, which isn’t bad if it’s handled with conviction and sincerity. But the direction by John Stephenson (better known for special effects than directing) is resolutely stiff and hollow. That’s murder for a movie dealing with miracles.

Let's just call "Allegiant" what it is: A way for the studio to make money and bring you back next year for the real finale. See you then. Maybe.

The cast is impressive, and again, Bridges is always a welcome presence.

A strong cast can't save Virginia.

It might have worked, too, if Black had anything remotely funny to work with.

Unfortunately, what the filmmaker has wound up with is something that feels like it should be playing at the bottom end of a triple bill at a drive-in.

It seems unfinished, choppy, the storytelling almost of the after-school special variety.