After Walking with the Enemy, two hours and four minutes of torture, rape and mass shootings, you’ll feel you’ve been tested, too.

This is a good cast, but it’s all played at a rather shrill pitch that must work better on the stage. The intimacy of the screen makes it all uncomfortably in our face.

Director Sebastian Cordero — he did the John Leguizamo journalism thriller “Chronicles” — serves up chilling and all-too-real ways to die in space and maintains tension even if suspense is in short supply in a tale told in flashback.

It’s too bad the muted Home Run didn’t take its own advice about being daring and inventive.

The culinary culture clash comedy The Hundred-Foot Journey dawdles, like a meal that drags on and on because the waiter is too busy texting to bother bringing you the check.

The action beats are bigger and better than they’ve ever been in a Ninja Turtle film — brawls, shootouts, a snowy car-and-truck chase with big explosions and what not. But in between those scenes is an awful lot of chatter and exposition. For a film that aims younger (save for the die-hards who grew up with this franchise), that’s deadly dull.

The quest, which takes our heroes to the Sea of Monsters, aka The Bermuda Triangle, is generic in the extreme. The fights/escapes all lack any sense of urgency and peril.

Bloody, brutal and melodramatic.

In a tale this timeworn and a film this devoid of humor, with only a few moments of humanity, with tension frittered away by the tedious repetition of the fights, anybody who has ever seen Godzilla in any incarnation can be forgiven for asking the obvious. “What else have you got?”

It’s perfectly passable holiday entertainment for people who dated during the “Rocky” and “Raging Bull” era. Just don’t expect this Grudge Match to be much of a challenge.

Aftershock then becomes a catalog of most every unpleasant way of dying you can imagine.

Hallestrom and his screenwriters may be stuck with Sparks’ formula, but they take advantage of the geography, the leads and a couple of homespun supporting players – Robin Mullens is a wonderfully folksy owner of the seaside seafood shack.

Convincing shaky cam or not, in the end all we’re left with is what we started with, just another bigfoot movie.

If you love exposition and shapely if bland young actors in leather, skinny jeans, knee boots, Goth cocktail dresses and heavy eye makeup, this may be the movie for you.

When the Game Stands Tall is a solid if unsurprising and uninspiring melodrama.

While the filmmakers might have shot for "Midnight Run," but settled for "Due Date," they wound up only achieving "Guilt Trip." Identity Thief is sputtering long before that mid-movie moment when it turns all sentimental and goes off the rails.

Dawdling along as it does, Million Dollar Arm rarely shows us the “juice,” a baseball comedy that is as tentative as a base on balls.

It all adds up to perfectly banal kids’ entertainment, with just a single decent plot twist, a few cute lines and a tried and a couple of trite and true messages — “Trust yourself” and “stop polluting” stand out.

The central premise is a half-hearted retread. And the gags come from a score of earlier films and sitcoms.

This culture-clash/mother bonding story was never going to be “Frozen River,” but you do sense that a lot of potential was squandered in denying these mothers big moments of mourning, bigger confrontations with the fathers of their sons.

Unwieldy, overlong and overly reliant on melodramatic coincidences, A Place in the Pines is still better than it has any right to be, thanks to its cast.

For all its showmanship, Now You See Me has a lot less up its sleeve than it lets on.

It’s a sentimental, sometimes moving affair... It is also at times a reminder of how hard it is to manage a decent Civil War movie on a limited budget, and how hard it is, even today, to tell a Civil War tale untainted by revisionism.

It’s over familiar, a movie that plays like recycled, R-rated outtakes from “Rules of Engagement” or “How I Met Your Mother.”

“The Raid” was a great action film in which the violence, excessive though it was, served as obstacles in the hero’s simple quest. In Raid 2 the violence is the movie, its excess used to cover for an inept story, thinly-drawn characters and dead spots.

If this sequel proves anything, it’s that more is not always better.

A mad, laugh-out-loud mashup of “The Little Mermaid,” “Harry Potter,” assorted vampire tales, “Pan’s Labyrinth,” the disaster epic “2012” and oh – “Pokemon” – just to impose the cinematic precedents on display here, Sorcerer is a Chinese twist on the reliable sword and sorcery genre which caused Hollywood to impose “Clash of the Titans” and “Immortals” on the undeserving.

The one thing Coherence needs most is that word that gives it its title.