Overblown caricatures and stale jokes about “don’t you know who I am?!” and going to see his wife’s shaman feel about as empty as a finished cup of coffee, and unfortunately, this movie has nothing else to offer for a refill.

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

One of those rare birds that is so off-putting in so many ways that all I could do for the most part was wonder how so many presumably intelligent people could be persuaded to sign on to produce and appear in something that could not have possibly seemed like anything other than a total mess from its earliest stages.

You’ll see some durable makeup in Nina. What you won’t see is any justification why this film should exist.

It isn’t creepy, but it isn’t terribly plausible, either. It’s just another movie in which a 30ish white dude finds purpose and learns how to live life again through the love and support of a younger woman who’s more of a concept than a real person.

It takes some chutzpah to name your siege thriller Dangerous, and unfortunately, there’s not enough of it in the Scott Eastwood actioner of that name.

The Happytime Murders isn’t so much interested in immersing you in a comedic world so much as it is in having its puppets do the most outrageous things you’ve never seen or heard puppets do in a movie.

The whole thing is too much of a tease, and once you figure that out, there's no actual suspense to speak of, just momentary manipulations.

Another season, another “Liam Neeson Has Skills” movie.

Expecting is a fairly laidback movie that isn't serious and isn't funny and isn't much of anything.

From the very beginning, this is an incoherent mess.

Unfortunately, the craftsmanship is lacking.

The Darkness is pretty much a total bust—it isn’t scary, it isn’t exciting and it plods along at such a snails pace that even though it clocks in at just over 90 minutes, it plays like it runs at least twice that.

It’s the presence of Gibson and his co-star Sean Penn, who give the project a stuffy sanctimoniousness, as it so transparently yearns to be the definition of “powerhouse acting.”

The sitcommy scenes of family arguments and droll wisecracks clash with the grimmer aesthetic Carnahan wants to give it, so “Shadow Force” feels like an action film serving two masters and fulfilling neither’s needs. It’s laughable, all right, but in all the wrong ways.

You will be hard-pressed to remember anything about it even only a few minutes after watching it, which should come as a relief to everyone involved with its production.

Warrior Queen is not the first movie about this subject to be helmed by a woman — “Manikarnika” was co-directed by star Kangana Ranaut — nor does it feature a stand-out performance like those other movies do (Ranaut is very good in “Manikarnika”). So while I suppose you could do worse than The Warrior Queen of Jhansi, I know you could do better.

Nightlight is a perfect example of a film with interesting ideas that are totally smothered by poor execution.

Someone must have said, “... like 'Ghost,' but you know, for teens!” when pitching Endless, Scott Speer’s shameless and embarrassingly vacant rip-off of Jerry Zucker’s wildly successful, otherworldly 1990 romantic drama. But I bet no one in that room expected the outcome to be quite this irritating.

Between underwhelming action scenes and draining expository dialogue, Assassin Club often leaves its cast out to dry.

The truth is that even if one sets aside all potential moral arguments about the very existence of "Songbird," it's still just really bad. If you're going to make a movie this exploitative and gross, you really have to make it better to disguise the smell of it all.

There are no people to watch in Fantastic Four, only collections of character traits and attitudes brought fitfully to life by actors who might've mistakenly thought they were hitching a ride on the superhero movie gravy train by signing up for this misfire.

It may not be as brazenly offensive as “God’s Not Dead” or as spectacularly inept as “Kirk Cameron’s Saving Christmas,” but it’s still awful, offering all the forced humor and superficial substance of a half-baked homily.

I want to recommend Don't Sleep because it is, intellectually, more compelling than many of the indie horror films I tend to watch. But I can't recommend this movie, mostly because it's not smart enough to deserve that praise.

The film is flat-out ludicrous from beginning to end.

A wild whirlwind of a mess, without any coherence, without even a guiding principle.

Bad movies are common. Shockingly bad movies, ones that are so incompetently conceived and executed as to force one to question how they got made, are less so, despite what Angry Film Twitter might have you believe. Safelight is a jaw-droppingly bad movie, a film that doesn’t have characters or a plot.

But what might seem innocent enough on the written page is often downright silly if insulting on the big screen.