Two awful things about Push are at least interesting: The first is the way in which the story is confused. The second is that the story makes no sense.

Ritchie aspires to be a great British director, but his working his way through British icons — Sherlock Holmes wasn’t even safe — does no one any good. He just reduces them to his own vernacular, his own level, and he ends up revealing nothing about them and everything about his own narrow vision.

Bluntly speaking, Ju-On is anything but frightening. Ridiculous. Unbelievable. Unintentionally funny. It might as well be a parody of a horror film.

A white-trash burlesque that springs from the notion that people chasing each other in cars and doing stupid things in motels are inherently funny.

Unfortunately, it’s not much of a movie. The best thing “Happytime” has going for it is shock value, and that wears away after about 10 minutes. It doesn’t have an interesting story, and the jokes fall flat.

Occasionally amusing but rarely engaging, it leaves one feeling like they’re standing to the side and watching someone else play a video game.

Neither funny nor exciting. It’s at best incongruous, the kind of incongruity that seems delightful on the page but not in practice.

Either “Nightbitch” shouldn’t have been made or its premise should have been transformed and built upon.

The Front Room becomes an exercise in psychological torture porn; it’s a movie you endure rather than enjoy.

It's as close to nothing as anything could be while still being something.

A romantic comedy and an adventure story, but in this case that just means it bombs in two distinct ways.

If you're no longer old enough to carry a Hannah Montana lunch box, this movie will feel like punishment.

There's just the matter of facing it: that The Perfect Man is just something slapped together -- by people who don't care, for an audience they figure will care even less.

A few amusing moments mixed in with the painful ones.

Unwatchable.

Unfortunately, A Letter to Mona, directed by Hiroyuki Okiura, embodies this sense of frozen time with a tedious narrative punctuated by occasional bursts of sentimentality and hard-to-penetrate humor.

The result is a diligent brand of gloom. When it isn't being diligently gloomy, it's being obvious. When it isn't being obvious, it's being sneaky, and when it isn't being sneaky, it's marching toward a climax of B-movie violence, stupidity and nuttiness that summarily bumps off the movie's least annoying character.

Dragons may have seemed less out of place three decades ago, but it would have been a bad movie then as well. It's filled with clumsy transitions and erratic performances, and tied together by an awkward framing device.

This is not one of the good Altmans. This isn't even one of the mediocre Altmans.

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.”

Dumb.

Nowhere near the worst film of 2013, but it is definitely the most exhausting.

Earnest and well-intentioned, The Identical is based on a "what if" that straddles the line between ingenious and loopy.

The worst action movies, and this is one of them, are all about stretching out the action.

With Brightburn there’s not even the pretense of idealism. It’s a superhero movie with the soul of an ’80s slasher film.

The sequel is even more silly, and much less fun.

Mildly caustic, sentimental and slow.

Most of the cast doesn't know what to do with their shallow characterizations and lackluster dialogue. The best lines were harvested for the trailer - so if you've seen that, you've seen it all.