To bulk up the thin material, the film steals from countless other, better adventure movies to create an altogether less satisfying combo plate that costs $30 to rent on Disney+.

The fights, taken on their own, are occasionally OK, but not enough to lift this joke-and-fun-free slog.

M. Night Shyamalan’s new thriller, Old, is campy, poorly written, candy-colored and subtle as Eurovision.

Over its interminable, nearly two-hour runtime, the film repeatedly mocks its very existence.

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!

It’s my favorite Cage performance in some time, after overly bizarre turns in recent years as a murderous parent in Mom and Dad and an inmate on a mission in the Japanese film Prisoners of the Ghostland. When he goes back to basics, it’s as rich and juicy as a delicious ham steak.

1994 plays more like television than a theatrical film. The more limited scope isn’t bothersome, though, because you can only watch it on your TV, after all, and two more films/episodes are soon on the way.

That idea was fun once, maybe even twice, but by the fifth outing the formula has given way to preachiness and predictability.

The Tomorrow War, in trying to become the new Independence Day (this release date is not arbitrary), throws Alien, The Terminator and A Quiet Place in a blender. And, like that gross kale smoothie you made once, the result is gray goop.

How unfortunate that we have two Ant-Man films and soon will have a pair of Doctor Strange flicks, but in all likelihood just a single Black Widow — a much deeper, more fascinating, more exciting character than either of those two duds, sorry, dudes.

What Werewolves Within aims to be is a Knives Out of the horror genre, with a wacky ensemble having a blast while they play enormous characters and follow clues. They do, and their antics are enjoyable for the most part. However, unlike the Daniel Craig mystery film, Werewolves can sometimes be overly spastic and annoying.

I don’t mind Diesel and Cena starring in movies like this, because it helps keep them out of other, better movies. But to see folks such as Helen Mirren (doing her weird cockney accent again), Russell and Theron’s talents wasted on such schlock is a shame.

The characters are so wacky you don’t believe them as killers or strategists or even just bystanders who are in the right place at the right time. You simply don’t buy anything about them. Ever.

For the most part, though, Luca is light and effervescent as a summertime Bellini, which is something parents can drink while the kids watch this.

Trust me — it’s been ages since you’ve seen actors have this much fun in a movie.

Devil, make a better movie.

I’d rather put Baby Shark on repeat all day than spend another 90 minutes with this adult horse.

This film is so sexy and cool and punk rock, you forget all about that Mickey logo and Cinderella’s cutesy castle.

The hugely enjoyable second entry doesn’t lift the franchise to new artistic heights, a la The Empire Strikes Back, but Part II is every bit as good and scary as its predecessor, and the characters, especially the kids, go to deeper and braver places.

When the massacre starts, the movie gets better. But the methods of murder are, like everything else, awfully self-serious and limited to mostly just plain old guns and knives.

Despite being a She-Hulk who’s seemingly impervious to physical pain, Jolie turns in her best performance in a while — arguably in over a decade. She’s relaxed, determined and maternal here, and connects well with Little, who is a big talent.

The long-gestating thriller The Woman in the Window, based on A.J. Finn’s novel, is here, and it sure is dusty.

Off-screen, Oyelowo moves the camera elegantly, and he creates a few cool moments in the woods.

Crystal, for what it’s worth, stays genuine through the increasingly viscous plot. He still has that warmth beneath his zingers that you don’t find in the frigid comedians of today. Nonetheless, we resent his movie’s aggressive efforts to force us into crying with strained, untruthful moments by the bucketful.

Wrath of Man isn’t as blatantly funny as “The Gentlemen” is, though it has its laughs, but it is taut and exhilarating without a single wasted moment.

Things Heard & Seen is an adequate haunted-house film, to be sure, but it will certainly give you pause about that three-bedroom, three-bath listing in Kingston.

Indeed, Clancy has written 20 books featuring John Clark. But, even with a star as charismatic and physically formidable as Jordan, audiences won’t be hungry for a single sequel.

The action film is as unpretentious as Charlie Sheen eating a Krispy Kreme doughnut at Six Flags. In short: blissfully dumb entertainment.