Never penetrates Cobain's circumstances or character.

A Dog’s Purpose is peril porn; the animal grows old or faces tragedy and expires over and over, reincarnating into a new dog with the same brain.

It’s just not very fun or engaging.

Melissa is the only fully developed character in an overlong, badly paced film filled with cliched dialogue and accented by pleasant yet forgettable music.

Most of Thor: Love and Thunder is a mess, pleased with itself and tonally everywhere. As bad as one of the better “Pirates of the Caribbean” movies, but that’s still pretty horrible.

Eisner has almost nothing on his mind, no political rumblings, nothing behind the urge to upgrade vintage trash.

It's hard to sit all the way through Aeon Flux while fully awake.

The sequel is one big tease.

Essentially, this is a two-person picture that falls flat.

The movie’s one and only idea renders itself boring, with still half the movie left for the audience to endure.

A ponderous and dreadful film.

Dreary movie.

The film is like watching a very bad play as presented by a very bad director.

So it’s not my bag, but I went into Jackass Forever with the best intentions.

The Snowman is ugly and nasty, but that’s not the worst of it. The worst is that it’s boring and makes no sense.

A tired and dispiriting affair that takes forever to get going.

It's possible there has never been anything like it. It contains memorable dialogue, vivid characters and several superb scenes, and yet it still manages to be wrong, a complete miscalculation.

Because there’s nary a situation that seems reality-based and uncontrived in this movie that has all the subtlety of a sledgehammer, filled with over-the-top cardboard characters that seem sneered upon by their creator. If Mirabella-Davis doesn’t believe in his characters, why should we?

The problem with Fingernails is it takes itself too seriously. Co-writer and director Christos Nikou takes a clinical, dramatic approach to such a high-concept, over-the-top and ridiculous premise. He seems so enamored by the concept of the movie that he forgot that the movie was supposed to be about relationships and not the testing.

The movie [Sugarman] made gives little indication that she understands teen girls, dramatic or plain. Much of Confessions seems clueless and -- even worse for moviegoers of any age -- listless.

The movie’s stylistic idea gets in the way of its story, and the story is too slim to sustain a full-length feature. And as the political ideas become as self-conscious as the style, Where Is Kyra? starts to feel a little like poverty porn.

It's the worst kind of convoluted thriller -- it can never unravel satisfactorily because there's nothing simple at its center, just more confusion.

It's both amazing and depressing how much talent goes to waste in the lame adaptation of Kurt Vonnegut Jr.'s 1973 absurdist novel.

It’s just cheap, it’s bad, and a completely out-of-left-field Pink Floyd reference — one of their employees is named Syd, the other Barrett — doesn’t help. It just feels like part of the general sloppiness.

There's only so much Soderbergh can do. Gray's Anatomy is made up mainly of Gray, and there's a whole lot of Gray going on. The story is unremarkable. Gray's observations, pedestrian.

The Cable Guy doesn't know when to pull the plug. Much of the film plays like a personal boob tube with Carrey trapped inside, determined to act his way out in a mugging freak show. He's a disturbing mixture of psychopath and pathetically misguided lonely soul.

The best thing about “Living Boy” is the performance of Cynthia Nixon, who plays Thomas’ emotionally unstable mother.

A funny comedy for about 90 seconds. Then Bette Midler goes off a cliff.