It's a grueling 70-minute march toward the end credits.

Ill conceived and unworthy (and dull and ridiculous).

It tries to get by on charm. It doesn't.

For about an hour of its running time, The Magic of Belle Isle seems like a tiresome, sentimental and slow-moving story about a grumpy old man redeemed by the sweet spirit of a rural town and by the nice family that lives next door. But no, it's even worse than that.

The film is a particular disappointment considering its pedigree.

The appeal of A Rainy Day in New York, to the extent it has any, is nostalgia.

Turns into one long wallow.

With its bigger budget and wider scope but less gripping story, “Peninsula” is much more of a generic, CGI-reliant action movie that often feels like a video game coupled with a few pages ripped from the scripts of “Mad Max” and “Escape From New York.”

Ugly. ..and unpleasant -- and clueless on a grand scale.

Visuals can't fill a spiritual vacuum, and Stay remains a pretty package that's empty on the inside.

The result is an incredibly disorganized movie with a few funny scenes -- most of which are revealed in the commercials.

The foundational mistake came when someone said, “Hey, let’s make another ‘Alien’ movie.” Newsflash: The alien concept is dead. Leave it alone, and leave poor Ian Holm out of it.

The production values are first rate. But you will wait in vain to hear a good reason for this movie's existence.

A fall-off in writing is part of the problem, but I think a more important issue is the replacement of Terry Zwigoff (“Crumb”) as director. Zwigoff’s humor is razor-sharp and incisive, qualities missing from Bad Santa 2.

The Ghost and the Darkness could have been an effective film about the virtues of courage for its own sake. But the picture is too lightweight, too posturing and too self-important to go in an introspective direction.

The result is that rare movie specimen, a completely intentional, expertly guided work of art that fails almost completely.

Chase is so dull in this film, he looks as if he's sleepwalking.

And then there’s the real problem with Pitch Perfect 3: The best thing about the first movie — the singing — feels like an afterthought.

A slow-moving family drama guaranteed to induce a nap if not somnambulism.

A dead-serious piece of activist filmmaking.

Much of the action onscreen doesn't ring true. Seasoned independent film director Henry Jaglom doesn't just explore the subject - he smothers the audience with it.

There’s just one big problem here: It Comes at Night is about as enjoyable for the audience as it is for the people in the movie. On both sides of the screen, misery reigns.

IF may have the sheen and aura of an expensive, important production, with a good cast and lots of famous names in voice roles (Steve Carell, George Clooney, Richard Jenkins), but the movie is a disordered wreck that confuses impulse for inspiration and dissipates any impossibility of impact by constantly switching focus.

This isn't pleasant to watch. Neither is it amusing, intellectually engaging, whimsically fascinating, coldly satirical or painfully poignant, though at any given moment in this erratic film director Tom Tykwer might be trying for one of these conflicting tones.

Burns presents two mildly amusing fellows wrestling with romance and expects the audience to see them as embodying universal dilemmas. At the very least, he wants us to take these guys as seriously as they take themselves.

The Shack is unshakable in its religious message, and that’s admirable in a cynical world. But viewed objectively as cinema, it’s just not a very good film.

Sometimes it's unpleasant, sometimes it's insincere, and for long stretches it's boring.

Dungeons & Dragons: Honor Among Thieves feels like Daley and Goldstein, who also co-wrote with Michael Gilio, asked ChatGPT, the artificial intelligence chatbot developed by OpenAI: “Write a Marvel movie except with ‘Dungeons & Dragons’ characters.” Seconds later, this spit out.