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.

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

If The Conjuring is an example of the haunted house movie done right, The Conjuring 2 is an example of everything gone wrong. You can only retread old tropes so many times.

If Zoolander 2 was a party, the guest list alone would make it the greatest ever thrown. But Zoolander 2 is not a party. It is a movie. A bad movie.

Fifty Shades Freed must set a record for the most subplots and supporting characters introduced and then abandoned in film history.

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.

At best, The Cloverfield Paradox is a schlock sci-fi movie that (all too appropriately) has the quality of a straight-to-video sequel. And at worst, it should have us worried about the direction of the Cloverfield franchise as a whole.

Despite all the fairies and waving of wands, there’s just not much magic here.

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.

Independence Day: Resurgence is a bad movie, occasionally in ways that are good for a chuckle, like when people earnestly deliver lines like “Now listen up! They’re going for our molten core!” but mostly just bad in ways that make you wish you hadn’t wasted your money or your time.

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.

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.

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.

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.

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.

It is quite literally the company’s biggest disaster to date; a colossal waste of time, money, and effort.

Dead Men Tell No Tales is the sort of sequel that’s so bad it makes you retroactively wonder why you liked the original film so much in the first place.

Bobin’s visual palette merely hikes up the contrast of every scene, as if enough color might mask the frail narrative beneath.

If (Re)Assignment played more like a spoof of vintage pulp and less like a tacky rehash of it, that choice could have worked. Instead, it just comes off as clueless — about gender as well as filmmaking.

After this boring and unsatisfying debut, it doesn’t take clairvoyance to see this franchise has no future.

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.

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.

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!”

The Snowman Killer is one of those ludicrous movie bad guys who is both supernaturally smart and conveniently stupid.

Geostorm is so punishingly bad it makes Independence Day: Resurgence look like Last Year at Marienbad. (Or at least its less well-known sequel, Last Year at Marienbad: Resurgence.)

Morbius is like watching an incompetent juggler throw six knives in the air and then get stabbed by each of them on the way down.

Artemis Fowl is a complete disaster; a hectic mess of worldbuilding that tries to cram a big chunk of an eight-part book series into a movie that runs less than 90 minutes plus credits. From the look of the finished product, a large portion of the story (along with most of the characters’ motivations) were completely removed, leaving only the action sequences and special effects — neither of which are impressive or exciting enough to justify sitting through the film, even one as short as Artemis Fowl.

There’s no issue with De Niro and Efron’s effort; both are game for every disgusting line and ludicrous set-piece. But they have less material to work with than Aubrey Plaza’s costume designer.

So many of the decisions by director David Frankel and writer Allan Loeb make absolutely no sense.

Henson has given us the worst movie of the summer — and quite possibly the worst of the year thus far.

An unpleasant, incoherent mess that feels like it was stitched together from outtakes and reshoots of something that used to look totally different.

As a comedy, this is an unmitigated disaster. As a fever dream of nonsensical non sequiturs, it might be a secret masterpiece.