The Creator itself eventually tries one’s patience with its incessant demands that you feel for characters and relationships that it hasn’t taken the care to develop.

At a certain point, it feels as if scenes are missing, and what’s left reads as unconvincing.

There’s very little about Maximum Truth that’s unexpected: not the jokes, not the satire, and certainly not the plot. Barinholtz and O’Brien are funny enough to keep this movie bubbling along, even when it’s low on ideas.

This movie is perhaps best described as a clunky but endearingly heartfelt DIY depiction of life among a group of LGBTQ+ kids, striving to live joyfully while being plagued by evil forces, anxious to eradicate them.

For the most part, Fear the Night feels like it could have been made by almost anybody. It’s crafty enough, but it’s lacking LaBute’s usual acid wit and fearless provocations.

The Exorcist: Believer is an exhausting affair, an unrelenting film that attempts to cover up its lack of shock and suspense with a kind of cinematic bludgeoning: a battering delivered via smash cuts, jump scares, overlapping sound design and chaotic camerawork.

It’s a humble story, one with the capacity to inspire in its simple message of perseverance. But the film itself, as an artistic product, feels limited in its observational scope, because the filmmaker doesn’t have any distance from the material.

Cooke and her character, Paige, inject some life into the proceedings, but the central mystery feels forced, the twists implausible. The screenplay strains for topicality, stuffing too many elements at once into this sad story in a bid for relevance that never quite resonates.

Reptile, a studiously atmospheric, layer-peeling mystery from director and co-writer Grant Singer, foregrounds Del Toro — playing a calloused detective investigating a young woman’s murder — in a way that makes you want more of him. But also, regrettably, less of movies like “Reptile,” which tries to match its star’s unpredictable magnetism with a forced eeriness, only growing more ponderous and unfocused, like a case getting colder.

You want to see Eddie Murphy surrounded by some Christmas-themed silliness. And on that score, it’s fine enough, but destined for regifting.

If Thanksgiving had to be any specific dish on the holiday table, it would be stuffing: disparate chunks tossed together and baked. Stuffing is a dish where old bread goes to shine — a cheap and easy crowd-pleaser. But this particular serving of it is missing a crucial element, the binder.

The blessing is that Buckley, Colman, Spall and Vasan are expert enough that dimensional character work still peeks through the vibe of cookie-cutter idiosyncrasy.

Though the movie promises to tell a culturally and politically specific story, what could have been daring is ultimately trite, relying on familiar music biopic tropes.

The only time Wish shines bright is when it dares to get a little bit weird.

Johnson’s well-rehearsed poise and Penn’s coasting boldness make them seem like the stars of a commercial for a scent called Common Ground rather than flesh-and-blood people. At times, they hardly seem to be sharing the same car interior, leaving Daddio feeling like a safe space, when what it needs is danger.

Woo is capable of bigger and better.

The leads give it their all — Hopkins’ vinegary parrying is especially lively — but the overall takeaway is of historical puppets playing philosophical gotcha, when we yearn for three-dimensional humans filling up a room with their lives, learnings and flaws.

Out of Darkness is effective enough — and gory — to function as a thriller of the loud-noise-springing variety. But a last-act grasp at profundity in Ruth Greenberg’s screenplay feels unearned.

A Desert of Pure Feeling is structured as a conventional biographical chronology. That predictable form finally conflicts with such unconventional art.

Even this cast can’t save the rote machinations of Ghostbusters: Frozen Empire as it dutifully delivers morsels of memory.

The film is a feat of maximalist and moody production design and cinematography, but the tedious and overwrought script renders every character two-dimensional, despite the effortful acting, teary pronunciations and emphatically delivered declarations.

The ambition here is invigorating and, during its most exhilarating stretches, Night Swim seems to be actually pulling it off — until suddenly it’s not, a victim of overplotting, pushing the water thing a little too hard.

Kinds of Kindness runs nearly three hours in length and reveals nothing more than our eagerness to give him the benefit of the doubt. We’re here for the sick thrills. Instead, what we’re served feels more like dirty limericks delivered at an excruciating pace by a bore with bad breath.

What should be a nasty hoot, however, is closer to a ho-hum.

I wish Larraín had cut Callas down to size more. He’s too protective of his fellow artist to slosh around in the fury that fueled her art. Callas could sing three octaves, but the film is mostly one note.

Goth holds MaXXXine together through the sheer force of her charisma, despite the bumpy plot, an underwritten character and the plodding, perfunctory kills that arrive like clockwork.

I’ll give Schrader the benefit of the doubt that his dialogue is stilted by design, even though the female characters are particularly prone to clunkers. . . But it’s still irritating to sit through, and once we start questioning everything we see — would young Leonard really order a bran muffin at an ice cream parlor? — it gets harder to hand over our trust when the movie wants to get emotional.

The problem is that Ronan is also forging her compelling warts-and-all portrait of obliteration and recovery in another type of gale storm, that of undisciplined filmmaking at odds with the patient harvesting of characterization.

Certain qualities are undeniable, such as Keaton’s command of this character and O’Hara’s unique wit. Ryder has the heaviest performance lift, transitioning her character from teen to mom, but she finds her groove in the back half of the movie. But there’s something a bit bland and manufactured about this version.

It diverts for a while, only to dissipate almost immediately upon conclusion.

The tone swerve into body-count humor and the nuts and bolts of violence eventually prove too much for Crano and Craig to effectively mold into a comedy of perception and privilege.

The inevitable head-butting, sexually tense banter between the super-serious (and frankly dull) Cole and the vivacious, near-magically-capable Kelly never quite takes off, nor, surprisingly, does the chemistry between the two leads.

While there are pops of piquancy in Landon’s script, her direction and the performances (with the exception of Woodard) fail to inspire much more than a shrug. “Summer Camp” is only mildly interesting as another entry in the Keaton-verse.

Despite being two movies smashed together, torturously twisted in order to get all these legends at one tournament, Karate Kid: Legends isn’t an unpleasant experience, largely due to the charms of star Wang, who has a bashfully appealing presence that belies his seriously lethal martial arts skills.

There are laughs and clever bits of business in “The Instigators,” but there’s never a reason to care.

The movie is built on the drifting life of a smart, stunningly beautiful and unfulfilled woman. But “Parthenope” shouldn’t have to strain as hard as it does — it plays like a fragrance ad. That qualifies as a disappointment for a filmmaker whose sensualist impulses are God-tier.

So far I’ve yet to see any movie figure out how to integrate the dull activity of staring at a small black rectangle into something worthy of the screen. Landon’s approach looks a bit too much like a billboard or a meme, but I think he’s on the right track to be trying something expressionistic that circles back around to silent-movie aesthetics.

While it is fun to reconnect with Big Nick and watch him try new foods, there’s just something missing in this rote “Ronin” ripoff — a danger. It seems Gudegast and his cast of characters alighted for Europe with only a few ideas in place, and the tapestry of this world is not woven as tightly as the original.

As respectful as writer-director Jon Watts is toward creating opportunities for wise-ass capering, the movie is curiously both a labored and lax attempt at restoring that luster.

In the film, Lily is delusional about her relationship and the movie blurs the lines of the abuse for too long to a frustrating degree that essentially robs our hero of her agency, and elides some of Ryle’s obvious manipulation.

As far as family-friendly, faith-based holiday movies go, you could do worse than “The Best Christmas Pageant Ever,” though it might not quite connect with all young audiences, as the film leans more toward poignant than playfully riotous.

Pugh gives Alma an edgy unpredictability that almost makes you believe some of the implausible things she does. And the expressive Garfield can convey water-eyed empathy so deftly that you know Tobias would be laid low if Almut so much as stubbed her toe on the leg of a coffee table.

Never Let Go becomes an unpleasant slog for much of its runtime.

There’s just simply nothing to hook into aside from Fishburne’s performance, which is the only captivating element of the film, and even that is derivative of his iconic Morpheus from “The Matrix.” Despite its many twists and turns, Slingshot shows no signs of life.

In Jason Reitman’s overstuffed, adrenalized Saturday Night, a dramatization of the windup to that fateful first broadcast, you don’t feel the buzzy air of revolution so much as hear the voice of present-day legacy curation getting in the way.

Less vibrant and proficiently pleasant, the new “Lilo & Stitch” only serves as a reminder to revisit the superior hand-drawn version.

But having stuck the landing once (and a few more times), DeBlois doesn’t leave himself much runway to do something new and improved. This “How to Train Your Dragon” is merely longer.

The unwieldy action rom-com Novocaine makes a convincing argument that its lead, Jack Quaid, can do it all: woo the girl, shoot the goon and tickle the audience. The movie itself has a harder time, screwing its three genres together so awkwardly that it tends to limp.

Though Wuthering Heights is a phony tease, I’m grateful that Fennell wants to titillate audiences.

A Working Man strikes an unsteady balance between solemn and ridiculous.

Mildness reigns and indifference blooms. What calls out to be well seasoned — a dish with bits that are scorched and raw — is instead merely a tepid porridge.

It has good style and a handful of fun ideas, but it’s ultimately as superficial as the puff pieces it’s attacking.

The four leads are yanked not by their heart strings but by the machinations of a plot that steers them from one contrived scene to another, just so it can point to the skid marks and call them a sketch of the new American family.

When the key comic minds behind that singular sendup of past-prime glory-seekers aim to rekindle their magic, Spinal Tap II: The End Continues leaves one thinking some classics are better left in their original, endlessly re-playable states.

Clown in a Cornfield is fun, to be sure, but feels about as substantial as a corn puff.

A project such as Operation Homecoming should shed light on their experiences, but Robbins' film just falls short. [06 Apr 2007, p.E17]

The film is so stylishly done that I could accept it on those plain terms.

Hurling herself into every scene, Lawrence puts her full faith in Ramsay. It’s not a trust fall so much as a trust cannonball. As good and committed as Lawrence is, there were times I wanted to rescue her from her own movie, to protect her from the fate of Faye Dunaway when “Mommie Dearest” turned another blond Oscar winner into a joke.

Being blissed out may be an enviable state for a human being, but it is not necessary the best one for a film. [25 May 1994, p.F1]

The point of the film is to strike a blow for truth regardless of consequences, but it's hard to believe in this seduction. [11 May 2000, p.F36]

While her previous pictures never shied away from tenderness despite their outré scenarios, her latest is a far more melancholy affair. Sadly, it’s also easily her least accomplished.

The entire movie has a disappointing air of smug self-regard about it, with an expectation the audience will adore everything about the characters as much as they do. What at moments feels like a nascent interrogation of contemporary masculinity ultimately suffers from the very impulses it seems to want to parody.

The storytelling is wonky, given the film’s competing needs to be Miranda-blunt about the modern magazine business while pairing marvelously with a glass of rosé.

More testimony to the experience of eating at Nobu would have helped this feel less like a commercial.

We’re presented with another movie in the “Mississippi Burning” tradition that focuses on a heroic white person getting his eyes opened about the nature of his own and society’s racism.

The problem, though, from its clichéd interview framing (Jeffrey Wright plays an American journalist visiting the retired Baranov at his estate) to the tediously narrated flashback structure, is that the movie never lives and breathes inside its stitched-together moments, preferring to be a relentless, country-hopping talkfest in which characters opine as if fully aware of the consequential era they’re in, fully ready to explain it.

A mixed bag of eye-catching imagery and formulaic writing, Goat disappoints because it follows every expected path toward a triumphant conclusion.

The movie ultimately treats us like adrenaline junkies, assuming we lack curiosity.

The result is a faintly comic curio that hurtles along without much impact.

It’s all highlights and lowlights, rarely interested in the in-between stuff that makes watching all the rounds of a bout so necessary to appreciating what it means to survive on the canvas.

Honestly, Primate’s kills are great. The problem is the dead space between them when we realize we’re bored sick.

Reminders of Him could use a little more swooning, a little less of the endless middle stretch of driving and talking, interrupted by wet sprints through thunderstorms.

Unfortunately, this heartfelt film resonates most strongly through those majestic landscapes, not via the story that unfolds.

The film is so committed to its rigors — the two-person cast, the glacial camera pivots, the moody lighting — that it teeters on the line of becoming monotonous.

The film is tangled in its mess of references: a possession thriller that also wants to dish out some grainy video footage à la “The Ring” or “Bring Her Back” along with the expected mouth-to-mouth vomiting.

Once you realize what the heck it is you’re watching, you might just settle in for a more diverting — or less terrible — time than first expected. But the lower your entertainment bar, the better.

“The AI Doc” is a well-intentioned but aggravating soup of information and opinion that wants to move at the speed of machine thought.

We’re left with a nightmare of identity that feels slighter than it should, unsure of where to point its knife.

Despite Segel and Weaver’s best efforts, they can’t make this bickering duo deliciously awful, the characters proving more grating than hilariously combustible.

Most movies about rock are such dithery jobs that "BackBeat" may seem more impressive than it really is. It's lively and full of good music and it plays around with a fascinating subject -- the Fifth Beatle and his one true love. But it doesn't really illuminate that subject or those years or that music. It's a Pop treatment of Pop. [15 Apr 1994, p.F1]

It’s a time-tested concept that is sandbagged by Streisand’s refusal to play it more like an actress and less like a star.

Here's the surprise of the new incarnation of The Wolfman, starring Benicio Del Toro -- there isn't one. No bite either, or humor, or camp.

This is generic filmmaking at its most banal, a simple-minded simplification of a not overwhelmingly complex book.

When faced as a director with the rudderless screenplay he (Jonze) co-wrote with Eggers, he's been powerless to energize it in any involving way. Sometimes you are better off with 10 sentences than tens of millions of dollars, and this is one of those times.

An interesting idea, but unfortunately, the film's narrative and emotional engine operate as mechanically as the titular, dead-eyed glamazoids.

Ultimately it's the characters who are the joke -- too thin, too vacuous, too unlikable for us to care what happens in the next 30 minutes, much less for the rest of their lives. Too bad, really, because the truth is Gervais is a very funny guy. The ugly truth is that The Invention of Lying isn't -- funny, that is.

The film's greatest sin isn't its cynical moral posturing but its complete failure to engage audiences on even a visceral level.

While this film fits squarely into Soderbergh's recurrent goal of ignoring audience interest when possible, that's the only area in which it can be considered a success.

Aliens vs. Predator -- Requiem simply exists, nodding to the continuity of the larger series and opening the door for, yes, another entry in the franchise. In Hollywood as in outer space, spawn begets spawn.

The presence of the ever-reliable Steve Buscemi adds a welcome boost to Saint John of Las Vegas, an otherwise unremarkable debut feature from writer-director Hue Rhodes.

Any sort of new insight into comedy's darker themes, to say nothing of life's, eludes Funny People. Instead Sandler and Rogen and the rest are left to wander aimlessly, with tedious comedy gigs, an even more tedious faux sitcom and relatively vapid relationships masquerading as a plot.

That this superficial romance between a successful self-help author and a nurturing florist is also a film about overcoming the tragedy of losing a loved one only makes its clichéd insipidity that much more irksome.

All told, this is going to make passable television. Eventually.

So a pioneering feminist in the hands of a feminist filmmaker should have been a perfect match. But like her subject, the filmmaker gets lost in the clouds.

Crass, vacuous exercise in grind-house stylistics.

The leads aren't only miscast -- Brody over-mopes and the usually wonderful Ruffalo seems out of sorts as a rascally schemer -- but interest in the con plot fades as the director's bag of tricks empties further.

A sour romantic comedy, only sporadically amusing.

The result is a movie that's hard to laugh at when its hero would surely be either in jail or perhaps even a mental institution were he to behave the way he does on screen in real life.