Reaching for meaning in The Nun II is as fruitful as a wander down a dark and dusty old hall. You’ll find things that go bump in the night but not much else underneath all the doom and gloom.

The script is standard sports movie fare without much subtext — in the mouth of anyone other than Harbour, some of these motivational lines would be real clangers, but he sells the material with his rugged soulfulness, and there’s true chemistry between him and Madekwe, as the unlikely sports star and his demanding coach.

One can’t help but feel that the man himself — grill and all — is so much more fascinating than this rote representation.

Pasek and Paul’s songs end up having to do much of the emotional heavy lifting, and the rest of the film feels cobbled together from random parts scavenged from other kids’ movies and pop culture ephemera.

In the end, The Predator is a killer when it comes to action. But, when it comes to the script, it’s just dead on arrival.

Skyscraper clearly aspires to be a 21st-century update of “Die Hard” (1988), one of the best action thrillers ever made. Instead, it’s just another film that squanders the movie-star charisma of Johnson, who should consider lending his box-office clout to more worthy projects.

Perhaps it’s time for a moratorium on road movies. Despite its strenuous efforts to come across as quirky and original, Boundaries goes nowhere.

Working from a screenplay that he co-wrote with McCarthy, director Ben Falcone (who happens to be her husband) keeps things moving but without much of a spark.

This film might give you the urge to check out a comic-book movie.

Clearly, this is a star vehicle — and the eminently likable Johnson is unquestionably a star. Through sheer force of personality, he elevates Rampage into something reasonably entertaining.

It’s downright depressing to see Oscar winners Hunt and Hurt struggling to make something meaningful out of their superficially written characters.

Based on true events, 7 Days in Entebbe pulls off the difficult trick of making terrorism boring.

It’s hard to understand what went wrong — the cast couldn’t be more appealing, and the film is bursting with special effects. But as an emotionally satisfying experience, it’s a bust.

This is a generic, uninspired and mind-bogglingly boring comic-book movie that’s out to steal your money and time.

Valerian has some cool visuals. But there’s more to science fiction than pretty pictures.

It doesn’t help that Weisz and Claflin have zero chemistry, and both come across as miscast. She lacks the aura of mystery that her character requires, and he’s woefully low on the charisma required of a romantic hero.

The franchise has sadly devolved into a cynical cash grab.

The best indicator of whether you’ll like the film version of Diary of a Wimpy Kid: The Long Haul is whether you think flying vomit is funny.

If being seated at Table 19 is a drag, watching the film of the same name is worse.

Inspired by a true story, Gold is a major disappointment — a film of admirable ambition but woefully underwhelming execution.

Nocturnal Animals is far less imaginative than even your most banal nightmare.

This halftime walk is more like a long slog.

Don’t get burned by Inferno.

Keeping Up With the Joneses is hardly worth the effort.

Only when there’s an opportunity to blow things up does Fuqua seem fully engaged. Another Western bites the dust.

Genius, like most films about the literary life, has trouble dramatizing what’s involved and making us care.

McAvoy and Fassbender appealingly reprise their frenemy chemistry. But Lawrence has little to do but look perplexed.

A Bigger Splash? More like a small trickle.