This is a warmed-over remix of crime comedy and thriller tropes, as awkwardly paced as it is murkily shot.

Josh Boone’s adaptation of Colleen Hoover’s “Regretting You” is a romantic drama with big emotions and plenty of both romance and drama. But too much of a good thing can be a bad thing, and in the case of “Regretting You,” the narrative buckles under the number of overblown emotional scenes and the commercial interruptions for product placements.

After Earth is ultimately too thin of a story to support all of its grandiose embellishments, but so what? It's better to try to pack every moment with beauty and feeling than to shrug and smirk. The film takes the characters and their feelings seriously, and lets its actors give strong, simple performances.

Sthers has amassed such a strong cast of veteran actors that they manage to create some resonant moments now and again.

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.

These kids have to contrive magical pretexts just to lay hands on each other, and boy, are their excuses rotten.

Bland and bordering on nonsensical, Haunt trots out all the standard haunted-house tropes without breathing any new life into them.

The 5th Wave is Dystopia-Lite.

The two-hour-plus “Ride,” No. 10 in the series, at least offers a few intriguing new variations on the usual Sparks formula of pretty bland people falling in love against a backdrop of verdantly green landscapes most often located in coastal North Carolina.

Like A Boss is a movie written and directed by men which bears very little resemblance to how women actually relate to each other.

A lot of grappling happens. The community grapples. The characters grapple. People grapple alone, people grapple together. Grappling is more interesting to watch than certainty, any day of the week.

The Shack wants to be a sincere exploration of faith and forgiveness but somehow manages to be both too innocuous and too off-putting for its own good.

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

Far from a perfect film. But Wenders is trying to do new things within the confines of a pretty standard European art-film scenario, and the viewer can see he’s not approaching the material as though it’s rote; he’s really trying to use the camera to get through the feelings of loss the characters suffer.

Confounding. But not without its thrills.

One of the loudest laughs arrives when we get to enjoy a scowling James re-imagined as a game character. Points for greater diversity in the cast as well, but, if there is a second sequel in the offing, please allow the women to be more than the sum of their body parts.

The biggest problem is that the most touching moments are hammered so hard. "Redeeming Love" could have tried to reach a broader audience but settles for preaching to the choir.

Granted, the movie does feature a few endearingly goofy scenes where Cage acts like Humphrey Bogart, with sweat on his brow, a stogie in his mouth, and a haughty putdown for anybody who makes eye contact with him. But he basically already did that in Paul Schrader’s underwhelming 2016 Ed Bunker adaptation “Dog Eat Dog.”

Although presumably meant to be a modern-day version of the classic conspiracy thriller "The Conversation," Paranoia is so vapid that it plays like "Antitrust" sans the food allergies.

Loud, repellent, badly written, indifferently directed and almost completely devoid of any genuine laughs, Scouts Guide to the Zombie Apocalypse is essentially a film for 12-year-old boys who can still derive some kind of basic entertainment for the mere sight of spurting blood or a bare breast, all the better if they can appear at the same time

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.

I have to give Morgenthaler credit for what we used to call “moxie” — whatever the hell he’s doing, or thinks he’s doing, he’s fully committed to it, and while he doesn’t really pull off the unhinged apocalyptic fireworks he’s reaching for at the end (and I don’t think any director save Andrzej Zulawski, who’s clearly an influence, could pull them off), I give him credit for trying.

I’m also hoping that the game is more emotionally engaging — or at least, you know, fun — than the movie I just saw. Because that thing was a dour mess.

Addicted is supposed to be erotica, so perhaps thinking about it too much is unfair, but the film is so uneven (it's both hot and preachy), as well as way too long, that thinking becomes inevitable.

Cats suffers from a problem common in contemporary filmed musicals. The musical doesn't trust the audience, doesn't trust that the dancing in and of itself is exciting enough to hold our interest.

The Scribbler never clicks into the escapist mind f**k it really needed to be to work. It can't maintain its style and never finds its substance.

Elizabeth Allen’s generically titled thriller, Careful What You Wish For, plays like a painfully stilted high school production of “Fatal Attraction.”

This one is especially obsessed with grisly details that contribute nothing to our fear or excitement.