Having seen the trailer for Brothers and now the finished film, I feel as though I just watched the trailer twice.

Predictable.

Sitting through three totally unrelated documentaries in a row -- with all that puzzling (subtitled) dialogue and those long (enigmatic) silences? That's a migraine waiting to happen.

If you can check your brain at the popcorn stand and keep your expectations low, Dark Water is an OK genre exercise that maintains a consistently creepy tone.

Fails to dig out the dramatic meat, despite a yeoman performance by Danny Aiello.

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

What everyone will remember about Goosebumps is . . . nothing. Except that it was kinda like “Gremlins.”

Never really gets out of the starting gate.

Too bad there is only about half an hour's worth of story here. Mostly, we just watch the teacher get high, and his classroom talks about civil rights are nothing but filler.

Initially shows promise, but filmmaker Frank Cappello (the early Russell Crowe vehicle "No Way Back") gets bogged down when Slater becomes involved with Elisa Cuthbert, a paraplegic survivor of the shooting who wants him to kill her.

What is Dick's excuse for outing one cable news anchor but not a rival counterpart who is far better known? The anchor isn't antigay, but Dick likes the other network's politics better. Hypocrisy? Your call.

Scenes that should be grotesquely funny deliver only chuckles rather than a big payoff.

A fairly painless, if not particularly stimulating, experience, Gray has no idea how to capitalize on the reunion of "Pulp Fiction" co-stars Travolta and Thurman.

Lacking either the narrative shiftiness or the trashy thrills of “Gone Girl,” this one is the kind of flick few will watch twice: It has about as many twists and turns as an L. The third act of a movie shouldn’t make you feel as though the first two acts were a waste of time.

If you like Charli xcx’s songs and find her to be a unique and uncompromising presence in the often airbrushed world of pop, you’ll appreciate moments of “The Moment.” But that’s it. This is not a fully formed movie. At best, it’s a moderately intriguing pitch.

It's suprisingly flat.

A big warm cinematic jelly doughnut stuffed with youth, vitality, style, whimsy and other equally alarming properties. I tried to love it. But after 20 minutes, I sensed I was intruding on the movie's love affair with itself.

The sort of movie that seems to exist for no good reason except to keep the studio's pipeline filled with filmed product.

Gerren's story is fascinating, but Roberts dilutes it by going off on tangents about unsafe cosmetics and phony plastic surgeons. Both topics need exploring - just not here. There's more than enough drama in Gerren's life.

The lovable Ross, who does her own singing, doesn’t have her mom Diana’s diva energy, and Johnson speaks with only a rote understanding of music. The film’s one twist is as predictable as tomorrow’s itinerary.

Johnson still does whodunits better than Kenneth Branagh’s horrid Agatha Christie adaptations he keeps torturing audiences with. Yet despite the giggles and the beefier budget — explosions, an exotic locale, massive sets — “Glass Onion” comes off slight.

A dispiriting return to the tired, star-driven, pop-culture-ridden formula that DreamWorks Animation ran into the ground before its best feature in years, this spring's "How to Train Your Dragon."

Clooney draws you in, but upon arrival there’s an emptiness.

There'll likely be more Z's in the audience than on the screen.

Fans of the cartoon should stick around for Lewis’ after-credits sequence, which introduces a dastardly rival band. It’s the movie’s best scene, setting up a sequel we’ll never see.

The classical music is soothing, the cinematography handsome and the acting strong, but the Swedish coming-of-age saga Simon and the Oaks is burdened with a sappy, soap-opera-ish script.

Like in "Crystal Skull,” director James Mangold’s movie aims to merge Indy’s earthy supernatural framework with science fiction, to mixed results. The love-it-or-loathe-it ending is a real doozy.

Heartlessly efficient kidnap thriller.