Hugh Jackman, as a (fictional) former American jumper named Bronson Peary, enlivens things a little.

With “M3GAN 2.0,” the filmmakers have employed a bold strategy: Take a $180-million formula, shred it and forget it.

One of the year's worst movies.

A frustratingly bland young-adult feminist comedy without good jokes, Moxie is a cross between a hokey ’90s family sitcom and a vastly superior teen film, such as Lady Bird.

The intriguing story behind Seberg and the always-interesting Kristen Stewart promised greatness. But this biopic squanders both; it’s a bland period piece with an irritating lack of focus.

Unintentionally funny is still funny, and the documentary A Decent Factory, had me giggling.

Can a series of irritating events make a movie? Yes, but an irritating one: Alexander and the Terrible, Horrible, No Good, Very Bad Day.

Brisseau obviously aims to shock - and he does. Now shocking is A-OK with me - but only if it's part of a something bigger. Exterminating Angels is beautifully lensed and acted, but it lacks substance.

Something most have gotten lost in the translation.

Too often seems like a slightly silly film.

Falters when it gets involved with supernatural gobbledygook.

Okuda's debut behind the camera, Shoujyo, is a dirty old man's delight: schoolgirls galore in short skirts or, in Yoko's case, nothing at all. That may be enough for some viewers, but not for those who insist on a story that gives substance to its characters.

Paper Heart is like a really special five-minute YouTube clip that goes on for an hour and a half.

A high school coming-of-age film that dares to push the envelope. It doesn't always succeed, but that's not for lack of trying.

Suffers from a lack of focus and a sitcom script.

If the poor really interested such filmmakers, these movies would have something to offer other than lugubriousness masquerading as seriousness, and clichés presented as hard truths.

Without an exceptionally skilled director of actors (such as Cameron Crowe), Cruise can’t dial up much emotion, so the two love interests for his character are two more than he can convincingly handle. He may be at home in the cockpit of a killing machine, but when it comes to displaying his humanity, he’s no Wall-E.

Moretz, meanwhile, acts like Little Red Riding Hood talking to her conspicuously hairy grandma — impossibly naive, and therefore dull and unbelievable. She’s a solid actress, but she shines best in indies or in parts with real edge. Greta is a camp-fest.

File this one in the same category of edgy Long Island comedies as the equally smart 2009 Alec Baldwin film "Lymelife."

It's ragged, and at times it scrapes your comedy ganglia like a cheese grater. But 15 minutes or half an hour is an ideal chunk of time to set aside for truly inspired absurdism.

Draft Day is lumbering and predictable, and its hero general manager is so dumb it should have been called “Dummyball.”

Stewart’s restrained performance is affecting, the film seems well-researched about what it’s like to try to deal with Gitmo detainees who throw their own feces, and it isn’t as tendentious as the average Hollywood take on the subject.

Amateurish in the extreme, the film is a feast of bohemian cliché, bad writing and worse acting.

Watching Meryl Streep act can be an exhausting experience - and never more so than during Music of the Heart.

A gorgeously shot endurance test that is impossible to get through on anything less than a full night's sleep and a double shot of espresso.

Impressively, however, director Elizabeth Banks keeps the powder gags fresh throughout, as the mammal maims her way through a Southern forest preserve. The movie about blow never blows.

Admirable for venturing into very dark places rarely glimpsed in big-studio comedies.

The film plays like one long commercial. The music's cool, but you're better off buying the CD.