It's hard to believe that The Devil's Double doesn't intend to be a put-on. Despite a real-life basis of its plot, Lee Tamahori's fierce depiction of hedonistic Saddaam Hussein spawn Uday Hussein relegates the character to a farcical cartoon.

The only saving grace of Fool’s Paradise is watching Liotta do what he did best.

Wakefield's by-the-numbers approach to didactic storytelling relies on tons of random factoids positioned out of context to drive home his agenda.

Too conventional to function as shock comedy and too angry to spark spontaneous laughs, The Comedian is a film without a purpose.

A waste of a talented cast, including Brian Cox, who pulls double duty as director.

The most distressing aspect about The Emoji Movie is that a spectacle this self-evidently soulless no longer feels like a new low. It doesn’t even leave a dent.

There are sequences and stand-alone shots that will stick with you long after you’ve washed the insipid narration from memory.

While the premise of Chick Fight may be featherweight, it’s the film’s phony feminist execution that turns it into a real loser.

The Current War forces viewers to spend so much time wading through its aesthetic that it becomes easy to lose track of its ideas, or grow too bored of them to bother following along.

Hulu’s dull and exasperatingly basic “The Princess” wastes a slew of talent on a straight-to-streaming cheapo so undercooked that it feels like an AMC psy-op designed to make you run to the nearest multiplex and beg for a ticket to whatever’s showing next.

Pattinson portrays the monotonous Georges Duroy in two equally dry modes: scowls and smirks.

Before the movie came along, the show had an ardent critic in Liam Kennedy, a criminology professor who believes “PAW Patrol” “encourages complicity in a global capitalist system that produces inequalities and causes environmental harms.” While it’s doubtful the humorless dirge of a movie will make enough of an impression to mold young minds in any lasting way, the critique of “PAW Patrol” is useful as an amalgamation of certain favorite Hollywood themes that ought to be retired.

It’s worth remembering that the “Cloverfield” movies were only able to successfully disrupt conventional distribution methods because they’re good. The best thing you can say about this one is that it’s free with your Netflix subscription.

The same video game aesthetic that facilitated his earlier B-movies has otherwise entombed this new one in a generic mess of C++.

Saldana delivers her distractingly affected performance with greater conviction than most could muster under these circumstances, but no amount of ferocity can disguise the discrepancy between the 37-year-old actress (33 at the time of filming) and the 62-year-old woman she's playing.

It might be enough to entertain young children or diehard SEGA loyalists, but the rest of us are left to lament that the running time isn’t as fast as its blue protagonist.

A limp and lifeless historical melodrama that aspires to be the “Pearl Harbor” of the preamble to World War I and still falls well short of that ignoble goal, Joseph Ruben’s The Ottoman Lieutenant tries to snatch a love triangle from out beneath the Armenian Genocide but fails to get any of the angles right.

The story of Eternal Spring deserves to be told — but Loftus’ film falls victim to the kind of insidious propaganda members of Falun Gong once tried to fight.

There are late bloomers and then there those who never bloom at all. Unfortunately for Lisa Steen’s feature debut “Late Bloomers,” the film doesn’t open up in time to blossom into something great.

The pacing is so frenetic that audiences will likely never have more than a millisecond to appreciate the textures or the visual spectacle of a shot before it’s already zipped ahead to the next sequence, always another song and dance to see, even if it’s woefully hard to actually enjoy.

A lukewarm soup of second-hand tropes that’s served in a portion too small to satisfy even the least discriminating thirst for slop, Infinite borrows so much from such obvious sources that it never bothers to establish an identity of its own.

Vaughn Stein’s Terminal takes a mess of dead tropes and Frankensteins them together into an crime saga that’s in desperate need of brains. And a soul. And a story.

If a tired retelling of a serial killer thriller premieres in theaters and nobody sees it, did it actually happen? Unfortunately, yes.

If Sleepless feels like the microwaved leftovers of a dish that was designed to be swallowed whole, Foxx is the frozen part in the middle, the bite that makes you regret that someone tried to heat this up in the first place.

It’s like the most depressing speed-dating night ever organized.

Faster than you can say, “Alexa, show me a piece of streaming content that crystallizes the grim future of feature-length comedies that have to satisfy an algorithm but not a theatrical audience,” you’re watching a lifeless, laugh-free slab of nothing like Superintelligence, which starts with “what if Skynet, but with jokes?” and then just gasps for air for the next 105 minutes.

Initially it seems as if Sidney Hall will just be another film about lone geniuses trapped in worlds where they’re misunderstood or undervalued, but the film then unspools into nearly two hours of baffling narrative choices, weak character development, and so many offensive cliches that it would be funny if it wasn’t so, well, offensive.

Whether or not you adore “The Shawshank Redemption,” “Driving Miss Daisy,” “Million Dollar Baby” — or even the “Almighty” franchise, for crying out loud — the Freeman spark that elevated those movies is nowhere to be found, and Freeman minus the Freeman factor is just a lost cause.