Everything here feels timid and toothless, lacking in true atmosphere or genuine scares.

While some creepy and unsettling events are in the film, none truly rise to a level most would recognize as horror. There are a few minor jump scares, but this film lives in its own realm.

The end result is a movie so resolutely bland and forgettable that the cast and crew probably expended more sheer effort dragging themselves to the set every day than they did in staging all of the various chases and shootouts and whatnot.

Four brilliant, accomplished, gorgeous female actors play four friends who take a bachelorette trip to Italy in this dumb, dull, dud of a waste of their time and ours.

It is an entertaining, family-friendly romp with wish-fulfilling yeses, extended comic mayhem, and satisfying consequences.

As the film trudges toward its conclusion, it’s one frustrating scene after another like that. And by the end, you’ll realize the clever opening title sequence was probably the best part of all.

Like Slimer shoving snacks in his ravenous maw, “Ghostbusters: Frozen Empire” tries to cram way too many characters, storylines and iconic images into its two-hour runtime.

Jesus Revolution is more of a wistful wish to bring in a wave of new followers than an effort to understand what they'll need once they’re there.

Reminiscence aims for something existential within a well-recognized film-noir template. Sadly, the result is an unpersuasive, vaguely pessimistic dystopia at best, one that liberally pulls 101-level references from recognizable Hitchcock flicks and neo-noirs alike, only to drown their time-honored spirit in murky waters.

At least in Sin City women are full-on goddesses: powerful and awful, with big needs, willing to go to the mat to get what they want. In other films, the flat portrayal of women seems like a failure of the imagination.

It frequently seems that what the movie ultimately wants from Samuel Beckett is for him not to have been…well, Samuel Beckett.

Based on the Shakespeare play of the same name, Paul Ireland’s Measure for Measure is filled with drama, although perhaps not the kind you’d expect from the Bard. No, this is a modern-day adaptation—one grappling with xenophobia, drug addiction, and gun violence. There are no period costumes here, but there’s a stone-faced Hugo Weaving to make up for it.

A presence that initially was disturbing grows repetitive and almost predictable over the course of an entire film.

Moretz’s performance — and the easy chemistry she shares in flashbacks with co-star Jamie Blackley as her boyfriend — help fortify a story that, for all its popularity, is rather maudlin and painfully awkward at times.

What are the odds that a second group of people would be foolish enough to break into Stephen Lang’s home to try and steal something valuable to him? That’s the unlikely premise of Don’t Breathe 2, which can’t quite match the novelty and thrills of the surprise-hit 2016 original.

Every bit of this movie yearns to be on the same proverbial shelf as something like Bay “Transformers” or Anderson’s “Resident Evil” films, but it doesn’t do enough to carve out its own space. An alien planet shouldn’t look this rote; same goes with the life-or-death action that happens on it.

It’s too bad this is not on a big screen, because the settings are filled with enticing details that bolster some of the weakness of the screenplay. Even on the smaller screen, though, the fresh, female-led take on the traditional tale, including a bit of a sisterhood-is-powerful twist near the end, makes it worth a watch.

In the annals of sexually-charged event cinema, Fifty Shades of Grey barely lights a candle let alone combusts with unbridled forbidden passion.

The execution is riddled with problems, not the least of which is the absence of Salinger’s actual work.

There’s more than enough meat on the bones of this true story for a film like Above Suspicion, but director Phillip Noyce can’t figure out how to tell it in a way that's more interesting than a Wikipedia entry.

We're watching two strong-willed people overcome their differences and learn to be a team: it's "Die Hard" reimagined as couples' counseling.

Although it has a solid cast, some amusing bits, and lots of imaginative violence, “Play Dirty,” a comedy-thriller-action movie about the theft of already-stolen treasures in a plot to topple a dictator, is easily the most forgettable of Shane Black‘s films, as both writer and writer-director.

Worst of all, the pacing here is just off, leading to a film that drags even at 90 minutes. If the cold doesn’t kill you, the boredom will.

Ultimately, there’s nothing offensively bad here—other than a waste of talent who should be doing better work—but it’s so forgettable that you’ll have trouble remembering if you saw it or not when you scroll past it on cable in a few months.

The star's Capone Voice is really something else, though — right up there with Hardy's Bane in "The Dark Knight Rises" and the title character of "Bronson" and the murderous trapper in "The Revenant" in goofy daring, as well as raw material for celebrity impressions that one might attempt while buzzed at a party. No matter how many times you hear it, it never seems to issue organically from the man on the screen.

This may be Goro Miyazaki’s most eccentric feature yet, but it’s also his least engaging. Earwig and the Witch doesn’t move the way it should, and that’s lethal when your last name is Miyazaki.

Sure, Mortal Kombat II has enough fight scenes and gore to deliver exactly what fans of the games expect from these movies. Then again, the makers of this new franchise-booster don’t seem to know how to fill the rest of their movie’s 116-minute runtime. They tie up loose ends from the last movie whenever they’re not nudging their new protagonists through the motions of another patchwork action-fantasy that’s too hip to be sincere and too hacky to be moving.

Horns would seem like another gamble, and another opportunity to stretch. It’s a supernatural thriller, territory he’s familiar with, but taken to a raunchy, grotesque extreme.