This is one of the worst movies of the year.

In the bland and outdated and curiously tame would-be sex rom-com “A Nice Girl Like You,” Hale once again tries her gosh-darndest to sell the material — but even though this toothless yawner is based on a real-life memoir, every single frame feels artificial and forced.

Whom do they make these movies for? What exercise in self-deception inspires them to go to such effort and expense for what is obviously going to be a lame exercise in retreadmanship?

We got two gold-record singers and they don't sing? So? We got five Oscar-winning actors, and they don't need to act much.

While the members of the Broken Lizard comedy group retain their likability, and there’s something kind of endearing about the disjointed, throw-everything-at-the-wall, “Caddyshack” type chaos behind the comedy, there are simply too many dead spots and cheap jokes and flat gags to carry a full-length feature.

This movie soars on the strength of the screenplay. Monahan gives Hedlund and in particular Isaac dozens upon dozens of rich, intricate lines, and they’re both up to the task and then some. Isaac is an actor who is not afraid to go big or go home, but in Mojave, his finest moments are relatively quiet and sublime. Every inch of his performance is pure excellence.

This is the kind of movie that is so witlessly generic that the plot and title disappear into a mist of other recycled plots and interchangeable titles.

Here is a film so dreary and conventional that it took an act of the will to keep me in the theater.

This is a well-meaning film with a good idea that unfortunately stumbles on its way to its less-than-satisfying end.

Sandra Bullock has starred in only seven films in the last decade, and along with Gravity in 2013, her two most intriguing roles by far have been courtesy of the streaming giant Netflix: first with the smash hit horror film Bird Box (2018) and now with The Unforgivable, which has prestige credentials, a brilliant, A-list cast and a few moments of near-greatness, but is ultimately a disappointing and frustrating viewing experience due mostly to script and editing problems.

Despite the filmmakers’ best attempts, the latest screen adaptation of Shakespeare’s tragic love story Romeo & Juliet lands with a dull thud.

The jokes in The Week Of are big and obvious and sometimes mildly tasteless.

It is depressing to reflect on the wealth of talent that conspired to make this inert and listless movie.

House of Wax is not a good movie but it is an efficient one, and will deliver most of what anyone attending House of Wax could reasonably expect, assuming it would be unreasonable to expect very much.

The movie works well on its chosen level. The big action scenes are cleverly staged and Eddie Murphy is back on his game again, with a high-energy performance and crisp dialogue.

As it is, Illegal Tender works as a melodrama, and it benefits enormously from the performance of Wanda DeJesus.

Outlander is interesting as a collision of genres: the monster movie meets the Viking saga. You have to give it credit for carrying that premise to its ultimate (if not logical) conclusion.

I prefer "Life Is Beautiful," which is clearly a fantasy, to Jakob the Liar, which is just as contrived and manipulative but pretends it is not.

Walking in, I thought I knew what to expect, but i didn't anticipate how William Friedkin would jolt me with the immediate urgency of the action. This is not an arm's-length chase picture, but a close physical duel between its two main characters.

The laughs come at a rapid-fire pace, but the comedy sometimes veers into hokey, over-the-top set pieces.

America the Beautiful carries a persuasive message, and is all the more effective because of the level tone that Roberts adopts.

It isn't a great movie, but it looks terrific and makes me look forward to the next film by its director, David Ren. He has a good eye.

When flashbacks tease us with bits of information, it has to be done well, or we feel toyed with. Here the mystery is solved by stomping in thick-soled narrative boots through the squishy marsh of contrivance.

Mighty Morphin Power Rangers: The Movie is about as close as you can get to absolute nothing and still have a product to project on the screen.

To be fair, this tawdry dose of pulp fiction ("inspired by real events") is not a complete waste of time. It offers the marginal pleasure of an all-star cast slumming their way through a thicket of routine plotting, almost laughable dialogue and the constant blaze of tommy guns.

Fatman skids and slides and careens between genres and never finds solid footing in any one place, and ultimately winds up as an interesting failed experiment.

There are elements in the movie that make it worth seeing, and that set it aside from the routine movies in this genre.

It's not good, but it's nowhere near as bad as most recent comedies; it has real laughs, but it misses real opportunities.