The satire is broad and forced and unfunny, there’s no cadence to the setups and visual punch lines, and the likable cast is hopelessly lost. Some disasters should remain forgotten.

Maybe the dingo ate their screenplay.

This is the kind of movie where you can anticipate the next big shock and it usually arrives right on cue, and yet it still gets you right in the gut.

The film is often uncomfortable to watch, prompting that little voice inside each of us to scream out “Somebody help her!”

This is a conventional-looking films with a screenplay from brothers David and Alex Pastor that raises some fascinating issues and offers a tease or two of a better movie before devolving into a medley of chases and shootouts.

This movie is so excruciatingly dumb I felt as if someone had shaved 10 points off my I.Q. by the time I bolted for the exits.

The best thing in the movie is Schwarzenegger, who delivers the Guardian’s lines with perfect timing and creates an empathetic character, because as we know, nearly all the best movie robots somehow become just a little bit human as time goes on.

If one can put that historic reality aside — and Rickman and fellow screenwriters Jeremy Brock and Alison Deegan make that possible via their straightforward script — A Little Chaos becomes a highly enjoyable journey to a rarified world 300-plus years ago.

We veer close to the edge of Precious, Indie-Hipster Cliche so often in Infinitely Polar Bear, but thanks to a gifted filmmaker and two brilliant lead performances, the voice-over narration and the home-movie footage and the flights of fancy aren’t as off-putting as they might have been in lesser hands.

This is one terrifically twisted parental play date.

Big Game never once feels credible, and that’s why it’s so entertaining. Almost nothing that takes place in this movie could occur in the real world, and there’s something comforting about that.

Ted 2 feels like far too many other sequels: born of box office expectations more than a bona fide reason to return to the characters we loved the first time around.

Occasionally Winterbottom delivers a haunting, effective moment, giving a hint of a different, more compelling film. But then it’s back to the self-righteous, self-indulgent, muddled metaphors.

At times this is a beautifully shot film — but the Safdies never glamorize Harley’s world or turn her character into some gloriously tragic heroine. We feel for Harley and we like her, but only a fool would want to spend five seconds in her tattered shoes.

Directed with great flair and pitch-perfect timing, brimming with sparkling visuals, filled with first-rate voice performances, thrilling adventures and unforgettable moments, Inside-Out is an instant classic.

Bujalski’s script is smarter and much weirder (in a good way) than the standard romantic comedy. His characters are funny without ever trying to be funny.

Live From New York! is a solid, pleasant 82-minute walk down memory lane. But given that we’ve just been through the 40th anniversary celebration, cresting with that marathon of a TV special, it just doesn’t feel particularly necessary.

Me and Earl and the Dying Girl has those handkerchief moments, but the laughs far outnumber the hard and sad punches. This is a movie that’s grounded in reality, has just enough whimsy and soars to the stars. It’s one of the best films of 2015.

Jurassic World is pure, dumb, wall-to-wall fun. When they hand you your 3-D glasses, you can check your brain at the door and pick it up on your way out.

Rarely have two actors been so effective playing the same character while taking totally different approaches.

Spy is a foul-mouthed, often hilariously disgusting, slightly padded comedy that soars on the strengths of writer-director Paul Feig’s wonderfully idiotic script and nimble camerawork, and the bountiful comedic talents of Melissa McCarthy, Rose Byrne and Jason Statham.

There’s gratuitous nudity, lots of partying, zippy camera moves, plenty of product placement and did we mention all those celebrity cameos? It all feels more like a rerun than a fully formed, stand-alone movie.

There ARE times when Aloha doesn’t work — and yet I’m recommending it for its sometimes loony sense of wonder, its trippy spirituality, its brilliant cast and because I seem to be a sap for even the Cameron Crowe movies almost nobody else likes.

Good Kill is never subtle and occasionally veers into implausibility....But the visuals pack a visceral punch.

Animals is a stark, brilliant, uncompromising, beautifully acted piece of work that deserves to be mentioned with “Panic in Needle Park” and “Requiem for a Dream” as a cautionary tale about drug addiction that doesn’t glamorize but also steers clear of proselytizing.

Brad Bird’s Tomorrowland is a great-looking, old-fashioned, at times soaring adventure ultimately brought down by a needlessly convoluted plot, some surprisingly casual violence and heavy-handed lectures about how we’re our own worst enemy and we’re going to destroy the planet if we don’t get it together.

Maysles gets to the heart of what is important to Apfel: truth, in a world in which it’s in increasingly short supply.

Every Secret Thing is a small, well-crafted film with a few chilling moments and some fine performances, but it’s a muddled, pedestrian crime thriller.