With seemingly no understanding of how tone-deaf it might be to cast a straight, white, able-bodied blonde like Schumer as victimized by society’s judgment, the lazily written I Feel Pretty takes a talented comic and casts her in the worst possible light (and I don’t mean that literally — she looks fine).

This is grim, bleak material that at times is monotonous, but its woe feels authentic.

It often seems like an acting workshop: Behave as if you are the parent of a dead child.

I don’t know how many sex scenes featuring Winstone and Atwell you can handle, but the movie breaches my limit, which is a firm zero.

A wilderness survival romance that makes subzero weather, blizzards and broken limbs seem as taxing as a train delay.

I hereby award the World War II drama The Great Raid a Cement Star for faithful and distinguished service to the cause of mediocrity.

Dinklage is a terrific actor who’s always engaging to watch, and he elevates this screenplay’s plot holes and lame dialogue.

A family-friendly, Hallmark Channel-ready musical dramatic fable whose plot more closely resembles Spike Lee’s “Red Hook Summer.’’

Beyond the Ocean, which at its best is reminiscent of Jim Jarmusch's "Stranger in Paradise," doesn't integrate its two story lines in a particularly satisfying manner and the ending is somewhat abrupt.

Might have made a tolerable five-minute "mockumentary," but it's apparently meant seriously.

Stengarde gives an arresting performance as a mentally unstable woman.

Strands several generations of performers in a highly derivative script and hackneyed direction.

The journey to this foregone conclusion features several dance-offs mashing up contemporary and classical styles, which director Michael Damian (“Love By Design”) shoots with gusto. Sure, this is all a familiar tune — but it’s still catchy.

This laugh-starved twist on "Big" and the many lesser body-swapping comedies of the era is basically a lecture on sexual abstinence.

Often charming and funny, though sometimes quite gross.

Director Raymond de Felitta, who directed a little-seen gem called "Two Family House" a few years ago, gives Falk plenty of room to do his thing. There's an underlying emotional truth even in scenes that seem terribly contrived.

Shamelessly derivative, contrived and predictable, The Proposal is nonetheless a crowd-pleasing romantic comedy.

Overall, the rambling Jayne Mansfield’s Car is almost as big a wreck as its namesake.

Cohen, so good in 2015’s “Brooklyn,” is chilling as the shark-eyed Varg (who has been linked to hate crimes in France in recent years), and Culkin brings just the right amount of eye-twitch to Aarseth, who seemingly enjoyed making grandiose proclamations of “evil” and donning corpse makeup rather than actual criminal activity — yet did little to stop out-of-control followers.

It's another flick about maps, landmarks and buried treasure that makes "The Da Vinci Code" look like TOLSTOY.

Steve Taylor's direction is unexciting but solid, relying on the beauty of Portland and his spirited young cast for most of the visual interest.

The whole movie is indistinguishable rubble.

Pumped-up, dumbed-down Bond, with tattoos instead of brains.

Perfectly enjoyable swashbuckling, eye-catching entertainment.

A shipwreck. They say a dead fish stinks from the head first - but the animated shipwreck Shark Tale arrives reeking all over.

Macht is the best thing in A Love Song for Bobby Long, but his intelligent performance doesn't justify a tough, and very long, sit.

Yes, there's some spectacular footage. But there's also an awful lot of filler for a 40-minute movie.

Watching this yoga documentary mirrored how I feel about taking weekly classes: The ancient Eastern tradition is demonstrably beneficial for both mind and body, but its execution can be so boring and its teachers so painfully earnest.

Though the film, based on a Ron Rash novel, doesn’t quite deliver on all its grim portents, debut director David Burris creates a neo-Faulknerian atmosphere of indelible sin in a story that rises above cliché. As Wyle’s character puts it, “The South was never one thing.”

A dull, listless, derivative chunk of celluloid lacking any spark or even basic storytelling ability.

The thing is a virtual remake of the fusty oldie "Sweet Home Alabama," which came out back when movie scripts were written on stone tablets.

The bad movie in my head was far better than the one on-screen, which offers no twists at all. A twist? There isn't even a curl or a bend.

Played by Logan Lerman -- the Zac Efron look-alike who was young George Hamilton in "My One and Only" -- Percy is a Manhattan high-schooler who learns he is a demigod.

Waffling Disney can’t decide if it wants this thing to be a quirky and fun but unsettling movie like “Beetlejuice,” with some real guts and creativity, or another schlocky ad for a Disney World FastPass. At times Simien’s film is surprisingly dark and emotionally honest, while at others it’s kitschier than “The Country Bear Jamboree.”

Do these stylistic and narrative departures constitute a smart shake-up of the old mummy formula, as Cronin’s movie promises to do? Eh, not really. The director mostly reshapes what a mummy actually is to suit his lackluster whims.

Good intentions aside, it fails to resonate, though there is a certain voyeuristic intrigue to attempting to figure out how much of this toxic stuff is drawn from the real Reiners.

The material has been dumbed down for contemporary tastes and Carrey's frantic comic style.

Cynics need not apply, but I found Bella a real heart tugger.

Unpretentious, TV-style documentary.

It's hard to make a dull movie with copious nudity and all kinds of sex (straight, bi and gay), although French filmmakers Olivier Ducastel and Jacques Martineau manage to do so in Cote d'Azur.

A campus comedy that's as dull as bong water, Accepted is like the product of a community college filmmaking class, remedial division.

Adequately funny but predictable sitcom

Takeshi's elliptical directorial style here is overwhelmed by the script's crudeness and lack of narrative power.

It's a film pregnant with comic possibility that ought to be much funnier than it is.

More fun than you'd expect from an adaptation of a '60s Hanna-Barbera cartoon that was in turn derived from a comic book.

Somewhere along the way, Borstal Boy became fatally compromised.

The movie's only redeeming qualities are its stars.

Will go down in history as the movie that showed a turtle getting an enema. It also features a hot performance by Marguerite Moreau.

Pity that the direction and narrative lack passion. If there's anything a story of interracial adultery needs, it's passion.

Utterly predictable and full of trite dialogue.

A disappointing erotic thriller from director Jane Campion that amounts to an implausible update on "Looking for Mr. Goodbar."

It would have been nice to learn as much about Sar the man as about Sar the dancer.

If the title makes you wince, know the movie is a lot better than it deserves to be. You’ll actually care about what happens to the prickly blue dude, even if you never cared about getting to zone seven.

“Secrets,” somehow the third of a planned five, really puts the “dumb” in Dumbledore.

May not be vintage stuff, but it goes down fairly smoothly.

After a slightly promising start, this great-looking but ultimately deeply confusing and unscary sci-fi/horror opus turns into a quite boring rehash of M. Night Shyamalan's post-"Signs" films.

How bad could the boneyard be compared to sitting through this execrable piece of non-entertainment? Better dead than RED 2.

An offer you shouldn't refuse: It's laugh-out-loud, side-splitting funny.

Draggy and incoherent.

This is a guy comedy being mismarketed as a chick flick, complete with a poster that looks like a page from Lucky magazine.

It's all entertaining enough, but don't look for any hefty anti-establishment message in what is essentially a whip-crack of a buddy movie that ends with a whimper.

Boring and irritating, and also mildly offensive in its ignorant depiction of both Judaism and Catholicism.

Lacks excitement, although its solid story makes for decent viewing.

Long stretches of Mike Figgis' film are jaw-droppingly pretentious or painfully dull... Nevertheless, there are clever, funny, erotic and visually beautiful moments scattered throughout the film.

Though shamelessly derivative and amoral, The Girl Next Door is nevertheless funnier and smarter than most of the pathetic dreck aimed at the nation's teens.

This Canadian-South African labor of love has its heart in the right place, even if the leads seem to have been cast more for their hunky looks than their stiff acting.

The Miyazaki legacy is in good hands.

For piquing kids’ interest in history and nature, you could do worse than this goofy Ben Stiller franchise. But its third installment is more meh than manic, too reliant on wide shots of the ragtag Museum of Natural History cohorts striding down corridors. You get the feeling returning director Shawn Levy is ready to hang it up.

Like the recent "Sex and the City" movie, this spinoff not so subtly tries to have its cake and eat it by ALSO suggesting that a woman is nothing without a man.

This (hopefully) final chapter's interminable first hour...showcases some of the clunkiest dialogue and wooden acting since the most recent "Star Wars" movies.

I’ve never seen a restaurant documentary that seemed less interested in showing the joy of food.

In the Land of Women is one of those films informed by intimate personal experience - the experience of seeing "Garden State."

Presenting a “true” adventure about a giant whale that supposedly inspired “Moby-Dick” raises tsunami-high expectations about In the Heart of the Sea that are crushed as thoroughly as if star Chris Hemsworth had brought down his “Thor” hammer on the entire enterprise.

The “Transformers” hottie undergoes her very own transformation here, thanks to satanic possession.

Most of the laughs are collected by Lucy Punch as chirpy, borderline-psychotic teacher named Squirrel.

Alfred Molina gives a warm and engaging performance as an occupying British soldier.

The overlong and too-steady movie tries to say so much — about the struggles of being gay in the ‘80s, gender identity, nontraditional relationship structures — that it all comes off as white noise. Albeit white noise that has a borderline oppressive desire to make us cry.

Halle Berry’s latest vehicle is old-fashioned as a leisure suit, but better-looking and a lot more fun.

Big-Hearted and often quite funny if crudely made, Fat Girls cleverly subverts the clichés of high school comedies to serve an autobiographical story about an overweight gay teen in a small Texas town.

I went to a wartime thriller, but then a Poli Sci 101 seminar broke out.

When all is said and done, Lies is just good, dirty fun.

Fans will love this quick flick by director Todd Phillips, but it better serves as an introduction for the uninitiated.

Has a promising start. But it quickly becomes tiresome and cliché-ridden - not to mention depressing and pointless.

Despite its talented and/or attractive cast, Heartbreakers is an ugly movie: The kind that makes you feel slightly soiled afterwards.

It's so gosh-darned darling it almost turns your stomach.

Tedious and obnoxiously manipulative.

This new low-octane version is hardly going to make anyone forget Robert Aldrich's semi-classic, testosterone-laden original starring Jimmy Stewart.

Though nothing much happens, all of the actors get to do lots of teary close-ups.

Those looking for another "Showgirls" will be disappointed - writer-director Steve Antin avoids the seamy side of the business, and the same-sex flirtation is mostly between guys.

Mia Goth is as fine a name as can be imagined for the actress playing a creepy, hollow waif in A Cure for Wellness, and her name is practically a tag line for this fantastically eerie movie: “Me a Gothic!”

Unlike Van Sant's grittier, less sentimental recent small films, it's twee enough to make your teeth ache. It's the director's biggest miscalculation since "Even Cowgirls Get the Blues" 18 years ago.

The computer-generated flying effects are the only reason to see the movie, but at some point somebody left the computer on too long, so it went ahead and spat out the script.

"The Titanic" is now the second-biggest disaster Kate Winslet has ever been associated with. Her new one, The Dressmaker, is like some hellborn alloy of film noir, campy melodrama, “High Plains Drifter” and the Darwin Awards for people who die in moronic accidents.

Brain-dead political satire/tear-jerker.

CHOKE tries to be dirty but manages merely to be dingy.

Not a bad idea — and one that already worked out pretty well for John Hughes’ “Weird Science” in 1985. But here it’s a single-joke skit that’s too self-aware to be distinctively funny, freaky or thrilling.

What I love about Green’s style is he has both a sense of the grand — he gives Michael’s mask the cinematic weight of Moses’ Ten Commandments slabs — and the goofy.

In “Pinocchio,” when Geppetto wished upon a star, a hunk of wood became a real boy. Eighty-three years later, Disney’s latest animated film, called “Wish,” which is sort of about the origin of that same magical ball of gas, couldn’t be more wooden, manufactured or lifeless.