Johnson’s film is filled with tedium instead of delirium.

Quick, what do you call it when a movie takes both of the year’s biggest breakout action stars and wastes them in a bad Kevin Costner movie? Criminal.

Has the bare necessities, but not much more.

For those who enjoy the goriest of thrillers, there is plenty of red running through Green Room.

At times, the latest Barbershop might get too serious for some, but as far as the comedy goes, it remains a cut above the rest.

Stupid as a bag of hammers and twice as loud, Hardcore Henry sounds like the title of the worst Kissinger bio ever. Actually, it's an action movie that feels more like you are trapped in a video game. A really, really bad video game.

A quiet, restrained drama, Louder Than Bombs works a little like a photographer itself, changing its focus, showcasing scenes from different points of view, rearranging the order of the images.

Demolition is a wreck.

Walken is great in the tragicomic role of a long-tooth singer. Better still, he deserves a Billboard hit for his on-key — and on-fleeck — version of Joe McGinty’s “When I Live My Life Over Again.”

If they gave out badges for smutty language, this movie would have lots. There’s nothing wrong with that. But filthy doesn’t automatically equal funny.

Directed by, and starring, Don Cheadle, it's more about truth than facts. Did this all happen just the way it's laid out? Definitely not. But if the notes are wrong, the themes are right.

There's never an emotional moment here to compete, or even compare, with his last film, "Boyhood." But there's not supposed to be. Everybody Wants Some!! is as laid-back and low-pressure as a Saturday afternoon at someone's dorm room.

There’s nothing here that wouldn’t have fit comfortably into an hour-long TV special, and it starts to drag after a while.

Among the lessons learned: marriages need tending and distance can make people closer. Not earth-shaking, but harmless. Like this sequel.

It's all angst and no adventure, a lot of fury and little fun.

If Pee-wee's Big Holiday is never really hilarious, neither is it ever dull. It floats along, offering goofy gags and relentlessly silly jokes that will have you LOLing — sometimes in spite of yourself.

The only thing that's revolting is how dull the series has gotten.

The Bronze isn’t a brilliant game-changer, just a funny and filthy diversion.

Tractenberg, evidently a fan of lingering close-ups, lets the audience marinate in a claustrophobic vibe.

If you like dumb gross-out comedies featuring men fellating each other, double entendres about penises and feces, and an obsession with the anus straight out of elementary school, you’ll love Sacha Baron Cohen’s latest effort. If you don’t, what, pray tell, is wrong with you?!

See Remember. You won't regret it — or forget it.

Luckily for Hello, My Name Is Doris, Sally Field is still so likable, really likable.

As the colonel, Mirren is terrific — a fierce warrior willing to bend as many rules of engagement as it takes. As her commanding officer, the late Alan Rickman is just as dedicated but a little tired of bloodshed.

It's tasty at times, but feels like a very special episode of "30 Rock." Halfway in, you're still expecting Kenneth the Page to show up.

Remember “Olympus Has Fallen”? This one is worse.

It’s visually sumptuous but laborious. Worse, it’s pretty humorless. Knight of Cups takes itself very seriously.

Zootopia is so well done I forgot it was animated.

Director Alex Proyas’ movie feels like a bad video game.

Hugh Jackman doesn't play Wolverine in Eddie the Eagle, which is too bad. The film deserves to be slashed to bits.

Backtrack eventually moves beyond its shamelessly borrowed set-up to create a few chills of its own.

When the story does wrap up, it's all too little, too late, and far too long. Which given everything stuffed into it, just leaves the super-sized Triple 9 triply disappointing.

Kiefer and Donald Sutherland share emotionally taut scenes set in lush, mountainous country. They both look great and act well.

In the end, you get a Sunday morning sermon when what you really want is a Saturday midnight screening.

A movie that really mined that story would be worth the gold. This one barely doesn’t even capture the bronze.

No, watching Rolling Papers won’t give you the munchies — but you will be hungry for a better documentary.

Early on, it seems that The Witch is tapping a higher metaphor for coming of age...or religious intolerance...or man's uneasy balance with nature...or something. It doesn't take long into the film's hour and a half running time, however, to break that spell.

Gideon’s Army does what the best documentaries have always done: It makes us think about something we’d rather not.

This smart, raunchy comedy is a movie aimed at women. Full of frank, just-us-girls talk about men and wicked gags about drunken sex and intimate "landscaping," it's probably a poor choice for date night. But it's a great pick for girl's night out.

Did you like “Zoolander”? Good, then you’ll like Zoolander 2.

It's buckshot humor that is funny when it lands; cringe-worthy when it doesn't.

This isn't a movie, it's a rapsheet, a series of assaults committed against its cast and its viewers.

So what's the problem? A hundred small annoyances, including storylines that peter out into inexplicable dead ends, others...that drone on too long, a dozen too many reaction shots from Hannah's dogs, important characters whose motivations are unclear, and a lack of romantic chemistry between Hannah (Rebecca Hall) and Andrew (Jason Sudeikis).

There's noise and movement, an all-out war, and the usual happy ending, but no real blood, no real life. And not much fun.

Star-studded and stylish, this addition to the brothers’ acclaimed canon is a looker with laughs and, alas, dull stretches. It’s fun and entertaining — no more, no less, no exclamation point.

Despite some great effects, and one good performance, it never quite gets underway.

Once upon a time, Black's charisma might have been enough to carry the movie.

This movie has almost nothing redeeming. And it’s flat out gross.

Sure, Bay indulges some signature cinematic fetishes. But he shows restraint with the slowed-down, sexed-up shots. War is gritty here, not glamorous. Result: characters, stakes and emotions feel authentic — all the more so thanks to terrific actors including James Badge Dale and Pablo Schreiber as actual ex-military men and family men who battled terrorists.

Moonwalkers is supposedly a comedy. So its clever conspiracy quickly goes disastrously wrong.

Director de Aranoa keeps things moving, though, with a firm sense of pace and a rough, punk-edged soundtrack.

Old silver-fox Gere looks great. He’s almost embarrassingly charming — which is the point — but there’s not much else here.

Pretty as Bratt and Munn are, they're not distracting enough to cover up for the screaming Hart and grating Jeong, who seem to be in a race to see who can play a more annoying character. In the end, it's a tie — they both win.

Anesthesia is sincere but numbing.

The film’s thoughtful script and astounding craft portray a tragic inner psychological battle.

Joy is joyless.

The world needs great Will Ferrell comedies. Unfortunately, this isn't one of them.

Yes, this important film will deepen a debate about the game's safety. And, yes, it makes the National Football League look like a tobacco company run by the Nixon administration. But immigration is the ultimate political football right now — and when I left the theater, it was with a renewed sense of what one dignified man can achieve when given a chance in a great nation.

That grim realism sometimes makes The Revenant about as appetizing as a three-course meal of turkey jerky — but also serious enough to remind you of classics like "Jeremiah Johnson" and "Little Big Man." It's a gruesome adventure story that rarely lets up.

This benign big-screen button-pusher is about do-gooding, not destruction. It’s Moore at his likable best — and, consequently, most low-impact.

Weird, wild and way-too-long.

Let's just get it out of the way right now: Reader, I liked it.

A gross-out comedy motored by girl power that’s funnier than hell. Raunchier, too.

You would have to be practicing some pretty dark arts to not smile as you watch the iconic Millennium Falcon take off into battle one more time.

This movie has Chris Hemsworth, in between "Avengers" movies, and a lot of computer-generated sea life. It uses a lot of fancy lures, but it never hooks you.

Taking Michael Lewis’ seminal book about the meltdown as source material, director Adam McKay channels his own anger into something rarely even attempted by Hollywood, let alone pulled off: a comedy about a tragedy.

No one has been too naughty to be subjected to this reindeer poop.

Something sexy this way comes. With an electrifying Michael Fassbender and Marion Cotillard headlining Macbeth, there’s going to be heat. Even more so since they’re both magnetic and silver-tongued in this jaggedly beautiful but sometimes jarring film.

Jackson is terrific, of course, although he's the spice here, not the main meal. As Lysistrata, Teyonah Parris is a fierce, finger-snapping leader while, as her man Chi-Raq, a cast-against-type Nick Cannon, is surprisingly tough and moody.

Youth is fleeting. "Youth" is not. In fact, you may feel yourself getting older just watching it.

This feels like a documentary about legal cases against TASER, not a documentary on the Taser.

Eddie Redmayne’s enthralling star turn as a transgender pioneer in The Danish Girl affirms his status as an ace cinematic chameleon — a transformer who rivals Optimus Prime. If only the movie wasn’t quite so polite.

Creed packs a mighty punch.

This un-terrifying film tries to find an interesting twist on the classic Frankenstein tale, but horrifically fails.

It's really a movie about love at first sight, about the dizzying early days of a relationship, about a passion so strong it can't be described, or denied. And that's something everyone can identify with. If they're lucky.

Give Lawrence credit for a seriously emotional performance, at least, and thanks to supporting actors Moore, Sutherland and a sly Woody Harrelson for adding color and comedy.

It’s enjoyable, but it’s also trite.

Got your holiday turkey yet? Well, don't worry, Diane Keaton and John Goodman have one waiting for you at the movie theater.

So, Bobby, seriously, what the hell is happening? You got a new movie, or what you’re billing as a movie, except it's already on cable and I figure a month from now it'll be in one of those Redbox things. And it's called Heist, I guess because it wants to separate me from my money.

The best part is that unlike “Lost,” “Battlestar Galactica” and “The Sopranos,” you won't be left scratching your head about the thrilling, completely satisfying ending.

It looks shiny enough to keep the kids engaged, but not so new and improved that it'll alienate nostalgic parents. The movie strikes that balance, adding a bell here, a whistle there.

Craig is cruelly efficient. Dave Bautista makes a good, Oddjob-like assassin. And while Lea Seydoux doesn’t leave a huge impression as this film’s “Bond girl,” perhaps it’s because we’ve already met — far too briefly — the hypnotic Monica Bellucci, as the first real “Bond woman” since Diana Rigg.

Gradually the film turns its very specific story of one immigrant into a moving group portrait.

Stonewall may be about coming out of the closet, but it wants to play it straight.

If a documentary can be both alarming and oddly reassuring, it's the gripping splash of cold cinematic water Racing Extinction.

Urgent as a heart attack and as timely as the headlines, 99 Homes is one of those films that make other "topical" dramas look tinny. This astute, intense drama boasts sharp performances and belongs in the same company as films like "Margin Call" and "Michael Clayton" -- contemporary stories whose of-the-moment nature only makes their great parts better.

She's inexhaustible, seemingly everywhere at once and, throughout director Sara Hirsh Bordo's unblinking, well-directed film, she is absolutely and fearlessly herself. Which is exactly as it should be -- the world needs Lizzie Velasquez.

Well, put a stake in it. It's done.

For a movie about purpose, Captive never finds its own.

Maguire’s portrayal of Fischer’s volatility, disconnect and inner demons is gripping. It’s his best performance since “Wonder Boys” (2000). Schreiber hardly says anything, yet he’s gloweringly good. He acts with his jowls and brow and swept-back hair, making the sort-of rock-’n’-roll Spassky a polar opposite, but strategic equal, to Fischer. Saarsgaard is also terrific, lending a quiet air of solemnity and thoughtfulness.

This dramatic thriller finds a spot somewhere between your brain and your stomach, and drills in.

The movie itself is an intriguing but ultimately unspecial Feds-vs.-hoods drama. But as the sinister, snakelike South Boston criminal Whitey Bulger, Depp delivers.

Like the mountain for which it’s named, Everest is rock solid. It’s big, it’s beautiful, it’s terrifying, and it’s merciless to both its characters and the audience.

Despite the funny premise, Cooties doesn’t live up to its potential.

Maze Runner: The Scorch Trials does pretty well. It finishes respectably on a scale between “Hunger Games: Catching Fire” (fizzle) and “The Empire Strikes Back” (aces!).

It’s a lazy, by-the-numbers bore.

It’s the fun kind of crazy. And The Visit is undeniably, admirably intense when it needs to be.

This beautifully observed drama creates an intimate feel and gently observed moments of connection and angst. Then things move forward with almost too heavy of a heart.

The success here is mostly due to nuanced performances and an appreciation for what these kinds of films require.