The Wedding Ringer is not so much a rom-com as an anatomy lesson. And the lesson is this: Men have balls. They must have them, or grow them, otherwise they are not men. They are little girls.

The schmaltzy Diana is directed at a dirge-like pace by German director Oliver Hirschbiegel, whose film “Downfall’’ depicted the final days of Hitler and provided one of the Internet’s most enduring memes.

Dull and dreary prequel.

Self/less is a celluloid smoothie blended from dozens of familiar elements, but it’s neither tasty nor nutritious.

It features well-below-par writing, acting, direction, special effects and music, while oozing a nauseating New Age sentimentality that undermines any tension in the underlying story.

Isn't as bad as the year's first abysmal Martian movie, "Mission to Mars," but it's pretty close.

Watching Wake is akin to listening to anonymous neighbors argue about matters you know nothing about -- nor care about. You only wish they'd shut up.

Un-magical, unfunny and un-romantic alleged comedy.

Lopez, appearing in her first rom-com since “Monster-in-Law” five years ago, is still a likable screen presence who throws herself into the movie’s slapstick sequences with unwarranted enthusiasm.

This flaccid comedy tries to spark your interest by undressing two of its four stars down to their underwear for significant periods of time. More outrageously, neither of those people is Jon Hamm.

Among group-suicide movies, A Long Way Down may prove uniquely inspirational: It’s bound to make audience members want to kill themselves. It might be the only summer movie during which the snack bars will be selling cyanide Kool-Aid.

An amusingly preposterous last act keeps you guessing, or maybe keeps you ducking, as it lets rip an avalanche of startling revelations and double-crosses. Nothing is what it seems - unless it seems cheesy.

It's nicely photographed but slow-moving, dull and utterly predictable.

About the only reason to stay with this increasingly histrionic film is to satisfy curiosity about exactly how Diego will (as we learn at the outset) die, but long before we learn that Twice Born chokes to death on its own melodrama.

Japan’s loony suicide culture seems like an adequately scary backdrop for a horror movie, but the routine horror flick The Forest mostly settles for cheap thrills.

The director, Queens-born Adam Watstein, who also edited and co-produced, deserves credit for making a film with modest resources.

Looks great for a no-budget indie, but not a single moment rings true in this sluggish vanity project, which is sorely in need of Viagra.

The season's first genuine guilty pleasure.

Copperhead has a more accurate period look, but dramatically it’s inert.

Screenwriter Marc Lawrence, who worked on the original, throws in unbelievable plot twists merely as excuses for comic mayhem.

A hapless family film that's too scary for little kids and too boring for everyone else.

More "it stinks" than *NSYNC.

The dialogue, at best serviceable, becomes completely superfluous.

Just to give you a taste of the movie's sophisticated idea of wit, it also makes fun of gay men.

A movie that features Wahlberg suggesting everyone try to outrun the wind can barely be watched once.

Aloft is less like a story than a dream, populated with gorgeous people and symbolism you can interpret any way you like.

Too bad this Tower of Error will leave them muttering “Redrum. Redrum” on the way out.

The movie left me amazed — amazed that Nicolas Cage wasn’t in it.