Assassin’s Creed makes you actively work for its pleasures, and it’s heartening to see a film of this scale that’s strange and ambitious and doesn’t spoon-feed viewers every little detail.

Wadlow manages to ratchet up the tension in the most clever set pieces, the best of which involves a bottle of vodka and a rooftop. It’s also the type of shlocky horror movie you want to watch with a big audience, and, dare I say, one that is especially fun, and funny, with a chatty crowd. This movie is too stupid not to laugh at.

There’s almost nothing in this movie that hasn’t been seen elsewhere before. And done a whole lot better.

If you are going to Venom for cool superhero action — or for compelling characters, pulpy science-fiction, impressive special effects, a parable about corporations run amok, or a single significant connection to Spider-Man — you will be sorely disappointed. If you can look past all of that (and the dreadful first hour), your reward is Hardy, delivering one of the all-time great unhinged performances.

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.

That’s Kraven the Hunter, and all these Sony superhero movies, in a nutshell: Bait and switches designed to maintain a license until the next actual Spider-Man film.

Let me put it this way: When I look back at this franchise in another 30 years, Scream 7 is not going to be one of the installments I’m nostalgic about.

Clichés usually become clichés because they resonate with audiences, and all it takes to freshen one up are a couple of new twists. Proud Mary has just enough of them to make some satisfying out of very familiar material.

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.

Even when the movie around him is total garbage nonsense, it is fun to watch Idris Elba; the way he walks, the way he stares at people with eyes blazing with intensity. He is an ideal action hero. He looks like the coolest man who ever lived in his fantasy Western garb, and he moves with a rare combination of grace and force, like the greatest possible combination of Gene Kelly and Chow Yun-Fat. He makes an amazing Gunslinger. Sadly, he’s trapped in a not-very-good Gunslinger movie.

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

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.

The nonsensical story would matter less if The Mummy would get out of Cruise’s way and let him do what he does best. Instead, it buries him beneath punishing dialogue scenes and surrounds him with unconvincing and unoriginal special effects.

Quan remains an extremely likable actor, as well as an impressive martial artist. (Even before Everything Everywhere All at Once, he had worked on several Hollywood productions as a fight choreographer.) It’s great to see him back on the screen, but he’s let down by his material here. When he’s not kicking butt, Love Hurts is downright painful.

Fifty Shades Darker is a very faithful sequel; a milquetoast continuation of a bland romance between two boring people.

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.

You may not particularly enjoy Warcraft, but you kind of have to admire the audacity of its existence.

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

Rebel Moon is the kind of movie that seems overwrought and underbaked all at once. So much care has been given to the style and the design of every little element of the sets, the costumes, and the props; yet so little concern has been given to populating all those background elements with fleshed-out human beings with lives that feel like they exist beyond the edges of Snyder’s immaculately composed frames.

Characters repeatedly yell jokes from offscreen or while their backs are turned to the camera. They are, almost without exception, not funny. And they’re indicative of a movie that feels like it was worked and reworked in the editing room almost to its literal death.

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.

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

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

The Last Knight is not, in any conventional sense, entertaining or good, although parts of it are spectacular.

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

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

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

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.)

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.

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

There are plenty of words that can describe The Emoji Movie. Here are a few of them: Unfunny. Saccharine. Nonsensical. Painful. And, of course, crappy. (If you prefer the poop emoji, that works too.)