It’s just dull and hollow — a massive waste of time and money. The characters are flimsy, the dialogue is stilted and the amount of destruction is ridiculous.

With a few, rare exceptions, the attempts at humor in “Suicide Squad” land with a thud—that is, if you can hear such a sound over the deafening din of gunfire and the bombastic score.

The Divine Fury does sound like fun, especially given that, in the film, demons tend to catch fire as they’re exorcised. There’s also a climactic fight scene involving a scaly demon-man. And a ton of dead air, boring asides, tedious backstory, and other unnecessary narrative padding.

This is one of those “based on true events” movies that give you the distinct feeling that the true events deserved better.

Kill Your Darlings presents a minor prelude to a major literary movement.

Berry’s Bruised is a familiar comeback tale relying on the inner-city motifs of 1990s hood films to deliver a melodramatic, barely coherent prestige vehicle with very little to say about MMA itself.

Yeah, it's a mishmash of good, strange ideas and generic nonsense, barely held together by Sly and Arnie.

Though it boasts a large scope with its ensemble cast, huge sequences and the star power of the almighty Jackie Chan, Railroad Tigers lacks the vital focus to come together.

The main problem is: It's not actually clear what is appealing and/or interesting about any of these people.

Mafia Mamma lives in the uncanny valley between incompetent and unwatchable.

Some of the voice work elevates what could have been a total disaster, and the legendary Alan Menken drops a couple of entertaining compositions, but it's a largely forgettable venture that families will watch during Thanksgiving break before the Netflix algorithm buries it forever.

Despite a few good scenes and ideas, and a final ten minutes that will be affecting for anyone who lived through the aftermath of the attacks on New York, the end product often feels like a standard-issue high concept romantic comedy with scaffolding of 9/11 solemnity built around it.

More often than not, Snake Eyes: G.I. Joe Origins is a dire checklist of clichés that were already gathering moss back in the 1980s, when G.I. Joe was a popular children’s cartoon.

A middle-aged bromance tucked inside a French crime thriller, a slick and brutal B-action picture that finds writer-director Edgar Marie channeling Nicolas Winding Refn channeling early Michael Mann.

Coffee & Kareem is stock R-rated buddy-cop comedy shenanigans by way of cuteness, and it ain't "Stuber."

Typically reliable actors like David Strathairn and Jeffrey Dean Morgan can only do so much when they’re given so little to work with on the page.

You never have to wonder or try to understand what the characters are feeling because they never stop telling you how to feel. The answer, invariably, is sad and fearful, but From Black is neither, really.

One of those films that expends so much time and effort in trying to become the next big cult sensation that it never gets around to simply being a good movie.

This ostensibly edgy comedy didn't wring a single laugh out of me until maybe fifteen minutes before the finale.

Last Knights is so thoroughly mediocre, so dully empty, that it’s difficult to summon the enthusiasm to trash it.

It never quite works on its own. What’s crucial at the core is creating a character who feels like a real human being; Susan is more of a collection of quirks and bad choices. There just isn’t much to her. And the novelty alone of seeing Hayes play a woman is not enough to recommend this, although he does offer sporadic glimmers of vulnerability and humanity.

If having their own Momo is Netflix’s latest attempt to grab viewers, they’re gonna need a much more disturbing monster.

While Chappelle neatly outlines the tragic events caused by his spiritually bruised protagonist, it’s hard to stay engaged with his philosophical query that divides arguments into distinct rights and wrongs early on, and only asks shallow questions.

It's not the movie's fault, per se, although Almost Love has problems other than being jarringly out of date with How We Live Now.

If you liked “Frozen” but wish it had been angrier, The Huntsman: Winter’s War is for you.

Would you enjoy a movie where Warren Buffet robs a bodega — and kicks the bodega cat for good measure? Because that’s what American Animals feels like.

Euphoria struggles to be little more than a hum-drum meditation on kicking the bucket.

In a comedic bildungsroman like this one, it’s apt to have doubts about the hero early on, but you’re not supposed to want to throw him out of a high window. I did, and I never quite recovered from that feeling.