Deep Water, despite an all-star team behind it, barely makes a splash. Although it is being billed as an erotic thriller, it’s tedious and clunky. Trips to the supermarket are more exciting.

Pathos and action are found in equal parts in The Adam Project, the latest attempt by Netflix to create the kind of throwback blockbuster that you might have paid to see in movie theaters.

It could be that, if we’re talking about representing hard-to-tame adolescent urges in monster form, “Turning Red” — bold as it may be — can’t come close to matching the messy comic farce of “Big Mouth,” the far less family-friendly but much more true-to-life animated series that paired seventh graders with lascivious “hormone monsters.”

After Yang may not reach the heights it’s seeking, but it’s easy to respect it for trying to tackle profound questions and reach a register of high-minded reflection.

Lucy and Desi traces the rise, union and collapse of this larger-than-life couple who made a fortune thanks to “I Love Lucy” and remade TV along the way. There’s a lot to chew on and the film lacks a certain sharpness, exploring one fascinating framing device after another only to eventually abandon each one.

The Batman is darkly dour stuff — potent but erratic. It’s as though the filmmakers, working in the very long shadow of “The Dark Knight,” have opted not to rival the moody majesty of Christopher Nolan’s genre-redefining 2008 film but instead to simply go “harder” — blacker, more cynical, a total eclipse.

As an acting exercise, it’s intriguing — barely any scene partners and all unfolding in real time. As a film, not so much: After a plodding, placid start, it goes from first gear into fifth and never relents as the woes pile on.

Everyone knows this story and how it turns out. But “Cyrano” does a wonderful job of letting you cling to the hope that it might go differently, as agonizing as it might be.

It’s a goof, and there’s something to be said for watching Grohl and the gang having so much fun.

The question does arise not long into this, the 10th movie in the “Chainsaw” oeuvre: Did we really need another? And sadly, given the lack of imagination, creativity or even basic attention to logic in a perfunctory and downright silly script, the answer seems a resounding “Nope.”

Ultimately it does work, but “Dog” is a movie that is trying to do quite a bit, and perhaps bites off a little more than it can reasonably handle in 90 minutes.

The buddy movie balance of “Uncharted” never clicks. Wahlberg, who was once attached to play Holland’s part, plays Sully like Nathan’s roguish, less tech-savvy elder. But they lack the needed chemistry and the script, by Rafe Lee Judkins, Matt Holloway and Art Marcum, doesn’t give them enough comic material to do much with.

As for Neeson, what can we say? He could keep doing this ’til he’s 80, but surely there’s something better out there.

Marry Me hangs on Lopez who is as glowing and glamorous as ever. Lopez, as they say, understood the assignment.

As it is, this “Death on the Nile,” for too long an affected and strained entertainment lacking any sense of place, floats well downstream from more bracingly constructed whodunits.

After a bit of a slow start, “Moonfall” gets absolutely trippy in the last third as it details a mind-blowing alternative history to mankind that spans millennia and distant planets and backs it all up with gorgeous, massive special effects. Logic is abandoned altogether but few will care.

There is a refreshing honesty in this script, penned by Trier and his longtime collaborator Eskil Vogt, that engages with nuance and the impossible complexities of life in a way that most “rom-coms” avoid like the plague.

The “Jackass” gang make for a rollicking antidote to the beautiful, unblemished people who play superheroes that never so much as bleed.

Visually and storytelling-wise it’s not a cut above much of what kids can watch on TV these days. This is a franchise that looks like it’s slowly going the way of the dinos, while we drool.

Adapting Rosa Liksom’s novel of the same name, Kuosmanen has moved the book from the ’80s to the ’90s and lost some of the story’s political backdrop in favor of a more out-of-time love story.

Ultimately, “Sundown” is more of a spiritual sister to “Melancholia” with shades of “Somewhere." It is a portrait of a body whose soul has long since departed.

January is often where bad films are stashed, but “The King’s Daughter” isn’t just bad, it’s a cloying, cliched mess that’s not worth even the slightest risk of contacting COVID-19 to see in theaters.

Like a drug store chocolate bar, it just is. It might not be good for you, but it’ll go down shockingly easy, give you a minor sugar high (and possible headache) and disappear from your memory just as quickly, leaving you defenseless for when the inevitable sequel comes along.

With handsome period craft, “Munich — Edge of War” makes for a watchable, engrossing historical thriller with fictional characters situated like spies around political leaders at a profoundly tense, and ultimately woefully misjudged, moment in time.

If the format of a lecture is inherently limiting, the directors do a superb job of weaving a compelling visual — and emotional — experience.

It’s a basic format that’s been trotted out for plenty of reboots before. But aside from its frequent stabs at self-referential comedy, “Scream” proceeds with a dull repetitiveness.

Anime master Mamoru Hosoda makes movies that, even at their most elaborate, can reach such staggeringly emotional heights that they seem to break free of anything you’re prepared for in an animated movie — or in most kinds of movies, for that matter.

It’s hard to overstate just how garish and frenetic this whole endeavor is. Even with the explosion of colors it still strains to hold interest.