Taccone can’t find the right mix of comedy and horror in “Over Your Dead Body,” which is a faithful — perhaps too faithful — remake of a 2021 Norwegian film, “The Trip.”

Cast adrift in this aimless movie, Ahmed seems lost. His performance is one in an unfortunate tradition of weepy Hamlets, and his problems are compounded by the fact that his weepiness is unconvincing. Each time he teared up while delivering a soliloquy, I felt that he was trying to sell me a used car.

It’s bigger, vibrantly colorful and slightly more ambitious, with glimpses of an interesting movie trying to break through, but it keeps snapping back to what’s safe.

It’s billed as another horror comedy, but when tidbits of humor manifest, it feels forced. There are few notable moments.

When you walk out of the theater feeling more empathy for the tortured monster than his Bride, the experiment has failed.

Scream 7 is anything but cutting edge.

Sirât is a film of impression and feeling, not logic or plot.

Fennell (“Promising Young Woman,” “Saltburn”) is a skilled filmmaker who can put over her ideas. The problem is that all her ideas here are bad — self-defeating, enervating and, in several places, unintentionally hilarious.

It’s a train wreck, but certainly a watchable one that almost plays like fan fiction.

At its best, it captures the last-days-of-Pompei feeling that was in the air at the time — a mix of frenetic celebration, paranoia and despair. But alas, the documentary soon derails into bogus history, specious arguments and a self-blinding variety of political bias.

Cameron is such a good filmmaker that even though he seems to be out of ideas, the three-hour, 17-minute running time chugs along efficiently on pure craftsmanship. But is that enough?

Needless to say, the actors are better than the material.

Badly cast and unevenly acted, “Regretting You” features the least healthy mother-daughter relationship since 1975’s “Grey Gardens.”

It’s not a cookie cutter superhero film or predictable horror film. That’s the good news. The bad news is that it’s form without enough content.

A House of Dynamite is an attempt to make a white-knuckle thriller, but there’s very little suspense to it. We have a pretty good idea of how it’s all going to end even before the first segment is over. And after that, we really know it, as we’re forced to watch the same events play out two more times.

Daniel Day-Lewis has emerged from retirement to do something he has never done before — make a truly horrible movie.

One reason why “The Conjuring: Last Rites” is so uninteresting is it takes one hour, 21 minutes for the Warrens to agree to enter the haunted house that we all know they’re going to enter from minute one.

By taking the “dark” out of the dark comedy, “The Roses” can’t decide what it wants to be, and becomes as flimsy as its setting: Mendocino is played by a seaside town in Devon, United Kingdom, and it looks more like New England than Northern California.

The movie doesn’t just suffer by comparison to “High and Low” (itself adapted from Evan Hunter’s novel “King’s Ransom”); taken by itself, its pace drags, its tone staggers and its ideas are muddled.

Opportunities for comedy are missed by miles. Davidson gets gonzo gags, Palmer is 007 with a heart, Murphy and Longoria try to exist in reality. That halfhearted miasma of genres results in tonal confusion. Murphy throws in what seem like ad libs to spice up a moribund script, but it’s not enough to add flavor to a bland stew.

While the original was serious, Old Guard 2 is merely forlorn. Its story holds little interest and, to make matters worse, it doesn’t even end. Instead, it stops mid-story, promising a sequel that feels less like a promise than a threat.

All that said, this movie is likely review-proof. The franchise is doing just fine without critical approval. This one is less of a slog, but there is precious little interesting or new in Jurassic World Rebirth. It’ll likely earn a billion dollars anyway.

The Unholy Trinity is a passable, 95-minute diversion, but an unremarkable one.

The movie goes to Vienna, to Egypt and to Italy and was probably more fun to make than watch.

Hartnett is naturally engaging, and one can see why, with the movie plummeting to earth, the filmmakers might decide to pull the humor ripcord. But here it smells of desperation.

Once the fleeting novelty wears off, what remains is a movie caught in tonal limbo. It’s too convoluted for kids, too slight for adults and too self-aware to be taken seriously.

Cave, who gained notice with much-lauded Hulu feminist horror film “Fresh” (2022), is too busy condescending to her characters to be invested in what happens to them.

What can you say about a comic sci-fi adventure that’s neither funny nor thrilling, but is packed with awesomely rendered visuals of dumb-looking things?