With Steven Spielberg behind the camera, Ernest Cline’s book had potential to transcend its source material. It’s disheartening that the finished product is little more than the cinematic equivalent of a pop culture mashup tee, which takes cherished icons of film and coats them in garish CGI while clumsily smashing them against one another like a child playing with action figures.

Good or bad, it’s undeniably one of the most depressing comic-book movies ever made. (It’s also got one of the most depressing comic-book movie scores, an endless dirge of droning strings by Hildur Guðnadóttir.) The calls from some corners to ban the film because it could incite violence give the movie too much credit. It’s not irresponsible. It’s just immature.

Walker’s presence in the Fast movies was the sweet, underplayed counterbalance to Vin Diesel’s ultra-sincere, ultra-sleeveless bombast, and the franchise still hasn’t found a way to fill the void he left behind. In hindsight, the series probably should have stopped after Furious 7, which not only marked the franchise’s farewell to Walker’s character but also to any semblance of logic or cohesion in its ongoing mega-narrative. Since then, Fast & Furious has basically been running on fumes.

The first Fantastic Beasts was a bit of a mess. The second one is actively bad. The longer this spinoff franchise goes on, the more damage it does to the legacy of the Harry Potter series — which knew not to overstay its welcome. Fantastic Beasts 2 has plenty of spells, wands, and wizards — and absolutely no magic whatsoever.

This isn’t just a film you need to “turn off your brain” to enjoy; nothing less than surgically removing your brain from your body would do the trick.

I don’t know if Legacy is Jody Hill’s first real misfire or his first earnest attempt at making a “normal,” relatable family movie.

Fundamentally, its creators course corrected from the first movie a bit too drastically. Where Venom was a grim body horror movie with a very broad and sometimes extremely silly comic performance at its center, Let There Be Carnage is practically a romantic comedy between Eddie Brock and Venom.

Taylor’s film lacks the suspense required of a thriller. It’s a cheap exploitation of the horrors of alcoholism, depression, and domestic abuse that thinks it’s much smarter and artsier than it is.

None of the life we see J.R.R. Tolkien live in the film illuminates his great works of art — or even makes for a particularly compelling tale.

A film is not how it’s made; it’s how it plays. And Don’t Worry Darling plays very poorly. It’s the sort of sustained puzzle of a movie that is very hard to pull off especially for over two hours, and here, Wilde was simply not up to the task.

Godzilla: King of the Monsters is as narratively incomprehensible as it is visually, with an even-more-talented roster of overqualified actors tasked with carrying the film’s insipid story and trying to make their characters’ bizarre decisions seem halfway plausible.

In Mortal Kombat II I truly did not care who lived or died for a single second — mostly because the film made it very clear that death is basically meaningless in this story.

Masterminds stars some of the funniest names in comedy. Kristen Wiig. Kate McKinnon. Zach Galifianakis. Jason Sudeikis. Leslie Jones. Too bad the movie isn’t funny.

It’s a movie that loudly yells at audiences they need to have some fun, while not actually providing any fun itself.

The Legend of Tarzan is too boring to be truly offensive. In spite of some impressive hand and brow acting, Skarsgard’s Tarzan is a frustrating blank and Margot Robbie’s Jane is a simple damsel in distress.

I never would have thought I could get so little amusement out of a film where Hugo Weaving dramatically intones nonsense like “Prepare to ingest!”

It takes the most popular G.I. Joe character and totally demystifies him until all that’s left is a blandly hunky dude with a sword.

Despite a rapidly escalating plot, The Circle lacks any momentum, a problem that’s only made worse by woefully underdeveloped characters delivering painfully earnest and stilted dialogue.

Given the visual and intellectual sophistication in the superhero movies Hollywood now churns out at a regular clip, Glass just doesn’t cut it.

With a cast this good and this likable, it’s hard to completely hate Office Christmas Party. Still, with a cast this good, it’s also hard to believe how consistently dull the film is.

The Da Vinci Code wasn’t Da Vinci, but it was an actual movie with texture and characters. Inferno is dumbed down to a shocking degree.

You can try to enjoy The Great Wall as a delightfully crappy blockbuster, but when you remember this is a Zhang Yimou film, it’s just a disappointment.

Halloween Kills is a mess.

If Passengers was about two people who woke up at random and fell in love, it could be a pretty decent sci-fi adventure. Instead it suggests that consent doesn’t matter, codes stalking as romance, and lionizes its male lead while turning its female character into a love-sick damsel.

It’s a comedy that seems perpetually in search of laughs it almost never finds, as if the filmmakers showed up on the first day of production, looked at the script, and realized they’d forgotten to write any jokes, and then had to scramble to find some on set.

From the first scene to the last, it’s an absolute mess.

The movie is over 90 minutes before the slasher component kicks in — and by that point, I was too bored to find much of anything endearingly silly.

People routinely label Exorcist II: The Heretic as one of the worst sequels ever made, but at least that movie was going for something. Whatever its flaws, it had some ideas and it is never boring. The Exorcist: Believer commits that sin, and so many more.