A dumbass "Kick-Ass," the superhero comedy Griff the Invisible sits on the screen like a steaming lump of Kryptonite.

The inferior second part, short but not nearly short enough, proves just how ill-prepared its creators were for the original’s success.

It’s hard to believe Costner left “Yellowstone” to make such an embarrassing, poorly told mess.

Rio 2 is not what I would call Amazon prime, but it’s got enough silly songs and daffy critters to keep the little ones happy.

Teen Lisa Johnson (Abigail Breslin) is trapped in a kind of undead, unfunny “Groundhog Day,” living one particular 24 hours with her family over and over.

It’s a sprawling plot that consistently teeters on the edge of unwieldiness, but Affleck’s assured directing, gorgeous cinematography by Robert Richardson and a who’s-who of Hollywood’s best character actors keep it mostly on track.

Although Scary Movie 3 boasts the same relaxed attitude to racial and sexual humor, some of the same eye for movieland ridiculousness, along with the usual cameos (Pamela Anderson and Simon Cowell), it lacks a single explosive, roll-on-the-floor gag, and too often repeats and belabors jokes that are merely OK.

The feel-bad movie of the holiday season, Spike Lee’s often-repellent Americanized reimagining of Korean director Chan-Wook Park’s twisty 2004 revenge thriller Oldboy is relentlessly gruesome, self-consciously shocking and pretty much pointless.

A flea market of fairy tales and hocus-pocus, Inkheart makes as much sense as an inkblot.

By far the best thing about Pitch Black is the cool-looking lighting and photography.

Despite many flaws...Romance is unquestionably an important film.

The first half of Scotland, PA is by far the funniest, with witty dialogue, hilariously ugly period fashions and hairstyles.

The trouble with authenticity in a punk rock film is that it comes off as amateurish, and while "Dolls" has a feverish energy -- and some good songs -- it suffers from crude performances and a trite rise-and-fall plot.

Mawkish and manipulative, the film isn't worthy of its widely praised German director.

It's certainly a lot more charming than the last attempt at a Peter Pan sequel, Steven Spielberg's star-laden, ham-fisted "Hook."

Gunning for the near-annual Ugly Makeup Oscar, Aniston proves, as always, a modestly gifted actress, only this time with scars and weedy hair.

A black-and-white fantasia shot against a bright backdrop of famous sites, and it has potential to be a cult hit on its dreamy-hipster look alone.

Suggestion: When making a film called Run Fat Boy Run, how about hiring a fat boy?

A marginally funny comedy at best, recycles themes, scenes and even lines from Allen's own old movies - like many of Allen's later efforts.

Still, if 13 Hours lacks the gravitas of “American Sniper,” it’s powerful stuff. Bay’s goal is to put you right in these men’s boots, to feel the heat, the fear, the fatigue, the weight of the weapons and the web of camaraderie.

Overlong and sometimes schmaltzy — but still hugely engaging.

The best thing about the Escape Room film series is that it gives audience members clear directions in the title about what they should immediately do: Escape. Room. Get out of that theater and go see Black Widow instead. Run for your lives — and sanity!

One big hunk of cinematic moussaka with lots of appetizing shots of food.

By the last battle, you may find yourself hoping that at least one person escapes without being macheted to death.

Say this for A Lot Like Love: It isn't one of those impossibly witty romantic comedies.

Directed by Guy Nattiv, the sluggish film caves to the worst tendencies of forgettable biopics. Mirren is ensconced in prosthetics and a gray wig in hopes that a lookalike transformation can distract from bad writing and a total lack of insight.

There's nary a dull moment in the semi-autobiographical Secuestro Express (secuestro means kidnap), as Jakubowicz pleases the eyes with closeups, sped-up scenes, hand-held camerawork and other stylized tricks.

In the end, it is inadequate, juiceless storytelling that deprives Titan A.E. of any dramatic force.