Director Abdullah Oguz gives us lots of nice scenery, but the simplistic story and characters strain credibility. What's more, the climactic plot turn is as hokey as it gets.

This isn’t close to being a great movie. But if you don’t overthink it, there is some fun to be had in the grisly consequences.

There’s not a lot of nuance or sense in the third “Purge” movie. But it still manages to coast on a combination of self-awareness, crowd-pleasing carnage and a plot that ties perfectly into current events.

So forced and contrived in delivery that it's tedious. That's not good when the intention is to be audacious.

Fast falls from interestingly loopy to tiresome.

It’s definitely not for everybody, but even a non-fan stumbling into the theater accidentally will find whole sections here to enjoy.

It's a celebration of nerd pride in all its many-feathered glory.

Mythology has rarely been so preachy in a tedious Hollywood style.

The most glaring problem here, and the one hardest to explain, is Soderbergh’s failure to elicit any warmth or charm from Zoë Kravitz, who has been consistently appealing in her every other screen performance, from blockbusters like the “Divergent” series to little independents like “The Road Within.”

Befuddling.

The only way Bill Murray could seem less like Franklin D. Roosevelt in Hyde Park on Hudson is if the movie showed him winning a marathon.

It seems like a bizarre move for Disney, releasing a film that combines elements of "Blue's Clues" and "The Island of Dr. Moreau."

The documentary could have used a little more excitement, but “Coastal” leaves us with a lingering notion that we’ve seen something special.

The story, a dystopian tale with heroes and villains and lots of triumphs and reversals, is so busy and so inherently interesting that the movie is entertaining until the finish - or the sort of finish. As only the first part of the story, Atlas Shrugged doesn't end, it stops.

Take everything extraneous out of Undercover Blues and you're left with about 15 minutes of physical gags and banter, more than enough to make an amusing coming-attractions trailer but about 70 minutes short of a decent movie. [11 Sept 1993, p.F5]

I got tired of Coneheads early on, but I never really got tired of looking at those heads.

Sloshes between comedy and drama, never quite hitting stride as either.

I would not take very young children to see The Goonies - too intense. I would also discourage any adults who are borderline in their liking of children from seeing this film. The Goonies could easily turn a lot of otherwise tolerant grownups against children, and I'm assuming that would be a terrible thing. [7 Jun 1985, p.75]

Indeed, it's hard to figure out why this film was even made, beyond the fact that it could be made, that there was a loose idea and talented people willing to join in the fun. It's neither serious nor funny enough, and it adds nothing to Jarmusch's reputation. If anything, it might hurt it retroactively.

It's a swashbuckling extravaganza, but Davis is not convincing. And before anyone objects, it's not because she's a woman. Get out already! This is the '90s, and women can do anything. But they can't escape from a lousy movie any better than a man can.

Subliminally speaking, you may not like this movie because it goes so far. Or, you may not like it because it stops short. Or you may like it for one of the above reasons. [21 Feb 1986, p.68]

Defined only by their scars, all three lead characters feel generic, as if Werthman built them out of archetypes that ran through his case studies.

Blood surges, splashes, drips, gushes, swamps, floods, swells, swishes, rains, slushes, shoots and smears over everything. The rest of the special effects -- a mechanical arm melting, a school chemistry lab bursting into flame, a head being twisted off a torso -- are nothing to write home about. [11 May 1990, p.E7]

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?

An earnest, ponderous epic that tries desperately to say Something Important about disenfranchised blacks and their Afrikaans oppressors, but never does. [27 March 1992, p.D7]

Mixed Nuts, opening today at Bay Area movie theaters, is laced generously with chuckles, though it neglects one little detail that helps make movies satisfying: a plot. [21 Dec 1994, p.E1]

Leaves an unintentional unpleasant aftertaste.

What's lacking is an explanation for the relationship, and some insight into the origins of Rimbaud's art. The other big problem, aside from DiCaprio's twang, is his lack of chemistry with Thewlis. These are two fine actors, working in vastly different styles, who might as well be walking through different movies. At the end of the handsome, frustrating Total Eclipse, you'll be wondering who these two men were.

Aside from a few moments involving Dudikoff, American Ninja 4 is a formula action picture without appeal, and its contradictions and illogical turns of plot don't help matters. [09 Mar 1991, p.C3]

The Dead Pool isn't much of a movie. It certainly isn't as fun, nor as compelling as its predecessors, and now and then the forced plot gets so ridiculous that it is certain to try the patience of even the most die-hard viewers. [13 Jul 1988, p.E1]

Fans of J-horror (for Japan, where the genre was born; its conventions have since spread to South Korea and Thailand) will find Shutter familiar; others may just doze.

A forced, tedious but stupidly amusing police action comedy starring Sylvester Stallone and Kurt Russell as undercover cops who dislike one another but are forced to do some male bonding to save their hides. High-minded people who eschew violence, harsh language and meatball humor just might want to skip this one. [22 Dec 1989, p.22]

If this is the best we can do in terms of movies - if something like this can speak to the soul of audiences - maybe we should just turn over the cameras and the equipment to the alien dinosaurs and see what they come up with.

It's one of those self-consciously cute pictures, about as hard to take as a person who stands in front of a mirror and preens all day. [23 Mar 1990, Daily Datebook, p.E1]

Tolerable for undiscriminating horror fans but should be shunned by everybody else.

A useless film in every possible way.

Jumbled and stupid plot, bad acting and a few predictable gags that fall flat.

A Tale of Love and Darkness is a dead film, an eminently worthy corpse.

It's just off, odd and joyless.

Moretz is an appealing young woman whose star is rising. She'll probably have an exceptional career, but If I Stay won't be a highlight.

The result is a frustrating, boring mess.

Stevens, Fisher, Mann and Dench are all fine. All have good moments. The problem is the script, the script, the script.

The Bye Bye Man is the kind of mess that happened by committee.

The Island of Dr. Moreau ought to have been a great film in these times of gene splicing and DNA research and all the moral, ethical and practical questions those developments raise. But director John Frankenheimer and screenwriters Richard Stanley and Ron Hutchinson's attempt to update Wells yields only a maddening mess of empty gestures.

This disappointing new film from director Michael Winterbottom ("24 Hour Party People") suffers from a similar malaise: It's poetic and pretty, strives for profundity without attaining it, and finally ends up saying nothing.

Pretentious drama.

No target is too obvious for Salvation Boulevard, a farrago of cheap shots aimed at Christian fundamentalism. It's a blunderbuss satire that criminally wastes a talented cast.

RocknRolla attempts to depict a world of ever-expanding chaos. But the chaos is only in the way the story is told. The actual vision Ritchie offers is pedestrian and tame.

The temptation arises to say something nice about Grown Ups 2 just because it doesn't cause injury. But no, it's a bad movie, too, just old-school bad, the kind that's merely lousy and not an occasion for migraines or night sweats.

A spectacular failure, despite further evidence of the director's keen eye and bold cinematic ideas.

Children will enjoy the physical humor, but discerning adults are advised to pawn their sons and daughters off on some other unsuspecting chaperone -- preferably one who doesn't read movie reviews.

At 2 hours, 21 minutes, feels like a slow death by a thousand cuts.

The obvious idea is to stage a motorcycle version of "The Fast and the Furious." Instead we get the flat and the tedious.

The goal here was to be absurdist, relentless and light. Well, Barb & Star is light — so light it floats off and vaporizes.

Safe House is an idea for a movie. It's a few blustery gestures in the direction of a story, with five good actors doing their best, trying to hold up the barest frame of an idea, while investing the surrounding emptiness with all the truth they can muster.

The dragging pace is one of several agonizing defects in this bloated sci-fi action drama.

Things happen in a flat, deadpan way.

The mockumentary-style delivery of a serious subject proves to be an unworkable mash-up.

For some, this sort of thinking is a much-needed revolution in human consciousness. For others, it's little more than New Age platitudes and questionable science.

Goes downhill fast.

The Choice has a twist or two toward the end, and they’re about as cheaply maudlin as the movies get. The only choice is to make sure a barf bag is nearby.

It's surprising how dated some of the humor is.

Whatever else W.E. may be (lousy, a waste of time, tin-eared, sleep-inducing, occasionally laughable, etc.), it's sincere and ambitious.

Peterloo, despite top-notch set and costume design, is this claustrophobic, interior movie. And despite the wall-to-wall dialogue, there is little character development — everyone seems to be a “type” rather than an actual person. So when the massacre does come at the end of the film, it is oddly underwhelming.

Nearly every bodily fluid makes an appearance in "Rules," a mean-spirited paean to hedonism set at an East Coast college where students attend class only occasionally, and then only to perform oral sex on instructors.

These are good moments, and there are a few others, that prevent Tomb Raider from being one of the worst films of the year. But they're not enough to make it worth seeing.

Yet another 'Stallion'? Talk about beating a dead horse.

For a time, Journey 2 becomes a lost episode of "Lost," then it becomes "King Kong," minus the ape. Then it becomes a ukulele music video featuring the Rock's take on Israel Kamakawiwo'ole's "What a Wonderful World."

Despite its technical defects and negligent production values, The Flip Side will probably appeal to a Filipino-American audience.

An awkward comedy made surprisingly bearable, most of the way, by one actress' ability to turn on the charm and sparkle.

As Baby Boomers continue to dominate the culture through sheer numbers, you can expect more movies about demented parents. But a good rule of thumb for those who’d attempt such a story in the future should be this: If you want us to care about crazy old Dad, show us that he was once something more than an abusive sperm donor. Show us that he was once a decent father.

A movie with the power to freeze the mind and make anyone watching just want to stagger away mumbling nothing but “This is awful,” over and over, until the pain goes away.

August: Osage County was a three-hour play that felt like two hours. It has been made into a two-hour movie that feels like a month.

Even viewers who are an easy touch for romance movies will find this heavy-handed.

So politics and social commentary aside, we are left with a crime film. One that isn’t very suspenseful or particularly clever.

Every once in a while you catch glimpses of originality and see what Gray Matters might have been if it hadn't gone soft and safe.

Unlike "Exit Through the Gift Shop," Catfish isn't able to make the leap from odd incident to an indictment of our times.

There are all kinds of bad movies in the world, but it's really only stardom that can create the exact variety of cinematic abortion we find in The Tourist.

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.

There's no footing in reality. Nothing about it feels authentic: not the blathering Mary, not the lifeless secondary characters, not the bromide-happy dialogue or the plot that twists less often than it spasms.

Neither epochal nor epic in its ludicrousness. It's just run-of-the-mill trash.

A noble attempt that doesn't hang together.

At the heart of The Return is a murder that even the most bumbling homicide investigator could have solved in about 12 seconds.

It has the curse of earnestness. It is so sincere ... it is so sincere it could put you into a coma.

The only thing that keeps Wish afloat is DeBose’s voice, who elevates so-so songs such as “At All Costs” and “This Wish” with a powerful lilt.

Relentlessly bland.

In “Atlas,” Jennifer Lopez does everything she can to act her way toward a good movie. Unfortunately, she can’t do it well enough to make a difference.

The Fountain' never comes together. Like the time traveler at its center, it's all over the map.

An awkward hybrid of Asian and American film techniques. It's also an uninvolving story that casts Chan in the role of a fish out of water and gives him little opportunity to show his exuberant personality.

This is strictly formula stuff, made worse by an utterly careless depiction of the characters.

It's monumentally coarse and vulgar, aimed at the mentality of a 14-year-old locked inside his father's liquor cabinet, and nothing about it is funny, least of all Adam Sandler.

Lackluster mob picture.

At least one chapter in the yet-to-be-written book "When Bad Movies Happen to Good People" belongs to the folks of Company Man.

Here's the tricky thing about The Strangers. Sure, it uses cinema to ends that are objectionable and vile ... but it does it well, with more than usual skill.

Measure of a Man is intended as a touching coming-of-age film about one crucial summer in a young man’s life. But it’s a movie of gestures and feints, in which we’re constantly being told of events and relationships rather than seeing or feeling them.

What follows is everything a story like this demands — car chases, shootouts and trying to stop an explosive device by cutting the right wire — but there’s little fresh here.

The film itself is wretched. A grueling, numbing black hole.

When you strip away the novelty of it all, we’re left with little more than a kids-meal version of “Scarface.”