It’s just the same movie over and over, until the end of time and everybody dies, in which case “Pitch Perfect 45: A-Ca-Wait-Are-We-Dead?” might be a thing.

Only the super-speedy Flash, played by Ezra Miller, lightens up the proceedings. Miller’s goofy eager-beaver take on the character, very reminiscent of Tom Holland’s Spider-Man, is the picture’s saving grace.

It’s a rare misstep for the usually sure-footed folks behind the Marvel Cinematic Universe.

As "M3GAN 2.0" drags on, it's impossible to shake the sense that Cooper's voice was the key to the original.

It might not be everyone’s cup of tea, but for those who already love it, it’ll be just right.

Generic abuser, generic victim, generic nice-guy-next-door, all going through highly predictable motions. [08 Feb 1991, p.21]

The whole picture is an exercise in obvious effort, try, try, trying really hard to win the audience’s affection. However it only succeeds in trying the audience’s patience. It’s a trial.

Passenger 57 is so completely routine and devoid of imagination that it seems to have been directed on auto-pilot. [09 Nov 1992, p.D4]

Unfortunately, the recycled plot is still the driving force here, and the movie becomes increasingly frantic trying to accommodate it. In the end, Raffill can't bring this dummy to life, but he does try.

The fight scenes, full of swordplay and gunfire, are choppily edited and somehow lackadaisical. It’s as though Schwentke was operating from a checklist of expected action-movie clichés and hurries through them all.

A film is a different experience from a book, and the movie “It Ends With Us” doesn’t really bring us inside Lily’s head; it simply leaves us puzzled and horrified.

There's only so much a director can do to dress up a sequel as ill-conceived and impoverished as this one. [30 Aug 1991, p.24]

A deeply uninspired sequel to last year’s surprise (and surprisingly sweet) hit “Bad Moms,” this movie was made in a hurry and it shows.

The best that can be said of this campy but witless time-travel thriller is that it's acted with some authority. [12 Jan 1991, p.C7]

Directors Joachim Rønning and Espen Sandberg (“Kon-Tiki”) seem to not have the slightest idea how to make this material sing; instead, it’s mostly a noisy, dark 3D blur in which the characters run around a lot, seemingly looking for the exits

A picture in the running for the dubious distinction of being perhaps the worst Marvel-derived origin story ever.

Coerced jollity is the order of the day in the kingdom of trolldom in this animated kids movie from DreamWorks. And I do mean order.

Cheap and cheesy at every level, this Ben-Hur barely qualifies as an epic. It’s a wholly unnecessary addition to the venerable franchise.

Unfortunately, he's working from a cliche-choked, insensitive script, written by Gary Goldman (``Big Trouble in Little China'') and Chuck Pfaffer (``Dark Man''), that makes a point of stirring up old prejudices.

The cast of "Ladybugs" is good-natured enough, but Dangerfield is reduced to reading lame one-liners about "drag races" as his future stepson hops in and out of a dress. Brandis is never allowed to have much fun with the complications that result from pretending to be a girl, and his best friend (Vinessa Shaw) barely seems to notice when he reveals that he's been deceiving her. What should have been a wild door-slamming farce never really gets started. already are turning from brown. [28 March 1992, p.C5]

Unfortunately, everyone's trying too hard to recapture the original's wry tone, and Culkin lacks the gawky, impish charm that Billingsley brought to Shepherd's childhood alter ego. [06 Jul 1995, p.E1]

It’s all just a day at the beach, harmlessly fun and instantly forgettable.

The dumbest, goriest bone-cruncher of the season: an unnecessary and Arnold-less sequel to the Schwarzenegger science-fiction hit of three years ago. [21 Nov 1990, p.C3]

Some of the most preposterous fights ever captured on film ensue with a baby-faced hero who sports an aerodynamic mullet. Also, Thomas does flips as he takes on two roles in an imaginary conversation. [28 Jan 2007, p.K5]

Although the sense of being inside a video game is strong, one critical element is lacking: interactivity. Players are always working their controllers to send characters on their complicated journeys. They’re participants. A movie, by its very nature, turns everyone into spectators. We watch, but have no control over what we see. And what we see in “The Super Mario Bros. Movie” is nothing more than empty-calorie visuals.

King Arthur: Legend of the Sword” lumbers on for more than two hours, weighed down with oversized elephants, excessively populated action sequences, and weirdly sudden occurrence of slow motion, as if the film is yawning.

It’s a lazy movie that fades from memory the instant the credits start to roll; a blandly pretty cog in a studio wheel. Moms deserve better. So do moviegoers.

The Dead Don’t Die isn’t just deadpan — it’s dead.