F1: The Movie is a corporate conglomerate on cinematic wheels.

It’s ugly and tuneless, with characters whose actions are so arbitrary as to render any consideration of what it means to be “good” or “wicked” meaningless.

By the movie’s merciful end, you wonder what a nice guy like Superman is doing in a mean place like this.

The result is a convoluted, overstuffed narrative that operates like two parallel movies until they converge for an extended climax.

Mission: Impossible — The Final Reckoning fumbles its own legacy, largely by believing it had one in the first place. With apologies to Simon Pegg and Ving Rhames, this has never been a franchise powered by our emotional connections to its characters, much less any sort of overarching, thematically resonant narrative. The Final Reckoning belatedly attempts to conjure up such qualities, while skimping on what has always mattered most in the series: scintillating stunt work.

Directed by Jacques Audiard (A Prophet, The Sisters Brothers), whose heart might be in the right place—the movie at least honors Emilia’s dysmorphia, rather than using it as a plot gimmick—but whose execution resembles something like community-theater Sicario, pulsed in an erratic blender.

Washington has the most fun, swishing about in dangling jewels and flowing robes, while Mescal—one of our best young actors—struggles to define Lucius outside of Crowe’s shadow. As for the relentless fights and battles, I found them to be increasingly tedious—even the wild ones with animals, given their reliance on CGI effects.

Hitchcock diluted by De Palma diluted by mid-tier M. Night Shyamalan leaves you with, well, bottom-tier Shyamalan.

It’s become a crutch for critics to say that this or that movie is so generic that it must have been generated by AI. I’ve resisted, but I’m finally going to play that card in regard to Wish. Thanks to a banal familiarity mixed with a dose of inhuman idiosyncrasy, the movie feels as if someone fed the opening Disney logo sequence — of fireworks bursting over a fairytale castle — to an AI program and asked it to spit out a 95-minute animated musical in the mode of the studio’s classics.

Bad in ways that are similar to 1989’s Road House—namely, an uneven handle on how seriously to take its silly premise.

To its credit, the movie gently questions Nyad’s compulsion—especially as it relates to her treatment of Bonnie—but it’s too eager to sweep all that under the rug when it comes time for the triumphant final swim.

Much of Vol. 3 feels like a combination of those exploitative ads from animal shelters and the Japanese body-horror endurance test Tetsuo: The Iron Man. Aside from that, the movie offers about 3,000 subplots and 2,000 supporting characters.

Amsterdam is one of those movies that reminds you how hard it is to make a good movie. You can have a strong idea, a talented cast, and a director with an impressive track record and still wind up with something that trips all over itself on the screen and lands in theaters with a thud.

Even while understanding that much of Belfast is supposed to be from the perspective of Buddy (Jude Hill), a young boy who witnesses the beginning of Ireland’s “Troubles” in his working-class neighborhood (and serves as something of a stand-in for writer-director Kenneth Branagh), I still felt a type of artistic naivete at work—a belief that all you need is black-and-white cinematography and a cute kid to create something of deep meaning and emotion.

The comic setups take longer than they should, then the punchlines give you a violent bear hug when they should be lightly slapping you on the cheek before quickly moving on to the next gag.

Garfield is fine, if a bit one-note in his show-must-go-on energy. The real issue is that the film is maniacally focused on Larson as the uber-struggling artist in a way that eventually feels monstrous, devouring any other character or concern that happens to cross its path.

This is a film of clashing ideas and clanging style.

Exhaustingly over-directed (Craig Gillespie zooms in from an establishing shot to a close-up in nearly every other scene), the movie is also a nonstop parade of grating, obvious needle drops.

Wow, when this thing eventually curdles, it really curdles into something rank.

When you hit a home run with Gadot, who was so thrilling in the 2017 film, you might want to make a sequel that keeps her at the center.

Not the worst of Adam Sandler’s Netflix vehicles, but not any good either.

The cultural context is at once vague and oppressive—there’s constant talk of “chi” and “ancestors”—to the point that it’s nearly rendered meaningless. With Yifei Lu in the title role, posing elegantly but not given much of a chance to project any sort of inner life.

I wouldn’t call Little a showcase for Issa Rae, who gets one of her first significant big-screen roles, but anyone who can bring this much life and intelligence to such tired material certainly deserves praise.

It Chapter Two has structural problems, character problems, and aesthetic problems.... But the movie’s main issue is an unexamined streak of cruelty.

Chris Hemsworth and Tessa Thompson are the reason to see Men in Black: International—she has a comic precision that nicely deflates his humorous hubris—but for some reason the movie doesn’t bring them together until a third of the way in, after failing to establish any real sense of their characters.

This bloated, big-screen take on the DC comic is dumb, but not nearly dumb enough.

The original Miss Bala was a slyly feminist take on what could have easily been an exploitation flick. Guess what? This Miss Bala weirdly sexualizes things to undermine everything the original was interested in and become, yep, an exploitation flick.

The movie wields its mockery with the subtlety of a power tool.

Absolutely no one—Oscar voters included—should find Mortensen’s performance anything other than excruciating. From the hand gestures to the accent, it’s as if he jumped out of a vintage photo at The Olive Garden shouting, “Unlimited breadsticks for everahbody!”

As a portrait of a real-world villain the movie is muddled and lacking any sort of compelling theory.

It’s too bad that The Week Of isn’t the odd-couple routine it was marketed as, because Adam Sandler and Chris Rock have a handful of funny moments as fathers of the bride and groom, respectively, who don’t have much in common.

The real crime in Holmes & Watson is the waste of the supporting cast.

This is noir as costume party.

Vox Lux has such snarky contempt for pop music—or at least the star-making machinery that governs it—that you wonder why writer-director Brady Corbet bothered to make an entire movie about the subject.

The film clumsily stumbles into feminist significance in its final moments, without having laid much groundwork for it beforehand.

I’m all for scaring kids at the movies, and even allowing dark magic to be a part of that. (I’m a fan of The Witches, after all.) But the indiscriminate application of intense horror tropes here feels both clumsy and inconsiderate. Kids deserve both more, and less.

Holbrook—a Garrett Hedlund-Charlie Hunnam hybrid—at least delivers the tough-guy one-liners Black specializes in with the right combination of sincerity and bemusement (even better is Sterling K. Brown as a government agent). But in the mouths of pretty much everyone else in the cast—including Trevante Rhodes, Thomas Jane, and Keegan-Michael Key—the dialogue falls flat.

The Happytime Murders is at its best not when it’s at its most “adult,” but when the filmmakers find new, surprising ways to employ their puppeteering creativity in the real world.

There are at least four movies stuffed into Jurassic World: Fallen Kingdom, and about a third of one of them isn’t half bad. I don’t think that math adds up to a decent film, but if all you need is a roaring dinosaur every 15 minutes or so, it might not matter.

The extensive dialogue sequences literalize the sort of things Wong usually captures via woozy imagery; moments that have powerful emotional weight in his other features here feel like silly gestures.

Ramsay has a gifted eye—the opening shot, of a boy twisting himself in a lacy curtain, is a stunner—and she establishes an undeniably vivid sense of place, yet there is a gravitation toward the tragic and repugnant that goes beyond description and toward a place of awed fascination.

The deeper American Beauty tries to get, the shallower it reveals itself to be.

Yes, Vampire’s Kiss features one of Nicolas Cage’s most outlandish performances (which is saying something), but it’s also a dismal film, ugly and misogynistic in a particularly 1980s way.

Not controlled or competent enough to work as a spoof, a serious action flick, or anything in between.

Overall, the movie seems impatient to get to the gory set pieces, which read less as horrifyingly inevitable consequences of the story at hand and more like standalone, gross-out art installations.

The Living Daylights marks one of those moments when the Bond franchise was awkwardly caught between two eras.

The audience is never fully let in on either character’s interior life, as we skip from incident to incident. This is despite Streep and Nicholson working overtime—a strange sight for two effortless actors.

Watching Dune is a bit like trying to dig your way out of a sandstorm. Wave after wave of lore and nomenclature pile up around you until you finally succumb, and are buried. At which point you’re best off giving up on the movie as any sort of coherent, compelling piece of science-fiction and simply embrace it as camp.

Before it goes completely off the rails into yoga sex and ill-advised special effects, The Keep manages to establish an intriguing sense of atmosphere and dread.

At least in Kinski you can see why Schrader thought Cat People might work. Her feline eyes are part of it, but it’s the mystery behind them, especially in the second half, that almost redeems the project.

A woefully bad low-budget slasher flick, complete with a requisitely inept cast (including Kevin Bacon in uncomfortably tight shorts); laborious pacing; and an interminable catfight climax.

Yikes! I understand we can’t always hold films from earlier eras to the social standards of the current moment, but even beyond the rampant offensiveness of Murder by Death, the fact that this whodunit spoof relies on race, ethnicity, sexual orientation, gender, and disability for the vast majority of its jokes speaks to a paucity of comic imagination that’s timelessly disheartening.

The movie is both vile and risible.

The songs don’t offer much distraction from the silly story.

Swiss Family Robinson’s sole saving grace is the tree house the family builds, an inventive piece of production design that manages to capture the sort of imaginative delight the rest of the movie is striving for.

Joanne Woodward won an Oscar for her title performance in The Three Faces of Eve, but what she’s doing here feels like an exercise you’d see at theater camp.