Don't let this dog out -- please.

Nora Ephron directed it and had a hand in the screenplay, but without Travolta this film would have no reason for being.

Completely ridiculous, but fun to look at.

Wonder Park, frankly, isn’t very much fun. It becomes so enslaved with its nonsensical plot that it forgets this is supposed to be about coming to terms with the possible loss of a loved one. It gets lost in its own Rube Goldberg machine.

A lot of talented people with the best of intentions got together and made The Last Face, and yet it’s an almost unwatchable flop.

Really, The Expendables 3 has only one thing going for it, beyond the unremarkable novelty of seeing lots of celebrities in a lousy movie. It has Mel Gibson, who is at his grim, tormented and quirky best here, playing someone who has crossed a moral line and has no regrets.

The best that can be said of this charmless animated picture is that whether or not it ends happily -- an outcome you're unlikely to give a hoot about -- it does, happily, end.

If it happens to hit you right - that is, if you happen to catch its wavelength of tear-and-a-smile whimsicality - the movie will speak to you.

A cliché movie about love, orneriness and several maddening tourists.

But Eastwood is undercut by the unbearably weak screenplay by Nick Schenk, who adapts a 1975 novel by N. Richard Nash. Schenk has turned in good work for Eastwood before, including “Gran Torino” and “The Mule,” but here his strategy seems to be having his characters explain everything that they’re doing and feeling, much of which should be delivered visually. Action is character, after all.

A comedy so unfunny, it's tragic.

The only inspired part of “Abigail” is the performance of Weir, a 14-year-old Irish actress best known as the title character in Netflix’s “Matilda the Musical.” She brings verve and joy to her vampire ballerina, dancing circles around the rest of the cast.

The movie’s ridiculous.

That closing-credits sequence is by far the funniest thing in the disappointing movie,

Isn’t It Romantic isn’t romantic, and it isn’t funny. It’s a bad idea stretched to feature length, a gimmick picture that never gets past its gimmick and never grows into something better. It runs 88 minutes and runs about 80 minutes too long.

In the same genre as the Farrellys' "There's Something About Mary" and "Dumb and Dumber," only lousy.

A well-intentioned, but all-thumbs down drama.

Lacks a certain je ne sais quoi.

The Signal starts off as an alien version of "Blair Witch Project" and then drifts off into cold plotlessness. But for a while, a little while, it seems like it just might be interesting.

This is trash on a big budget, but trash nonetheless.

It's a complete mess, the spectacle of filmmakers blowing up their movie and everything in it, because they can't think of anything else to do.

Despite its sometimes bloody content, the mood of Happy Death Day is remarkably sappy, aimed at the broadest possible audience for a film of its genre. Think of it as “slasher lite” and an acceptable date movie for unadventurous types, and you have the gist of it.

The bottom line with Andrea Arnold's Wuthering Heights is that the writer-director has taken Emily Brontë's tale of undying passion and rendered it passionless.

Why, if Chase is such a funny guy, does he make such unfunny movies?

This brand of eccentricity does not suit Cusack. He lacks Cage’s manic gleam and irrepressible sense of play. Cusack comes off as glum and a bit lost, negating Miller’s effectiveness as bogeyman.

It provokes nothing but yawns, and the sex it explores is stuff everybody knows about and says, "So what?"

It takes about 20 minutes to catch on that Friday is without narrative drive - and about as long to figure out that the film offers nothing better in place of it.

The laughs come in all the wrong places when they come at all.