The Gallows is not without thrills. What it lacks is the thrill of the chase.

We can confirm that Morbius is, really and truly, a movie. Granted, it’s not much of a movie, but it’s a movie nonetheless.

The first “Point Break” was absurd and hyper-macho, but the director committed to the story enough to make it, at the very least, vibrantly watchable. This remake offers nothing but the absurdity, along with a handful of impressive stunt sequences that are both its reason for being and a complete distraction from what little story is happening here.

Gender inequality may be a potentially complicating factor when it comes to sexual trauma (i.e., men can also be abused by women), but that provocative conceit isn’t considered with much care or intelligence.

Most disappointing of all, Black Adam is one of the most visually confounding of the major-studio superhero sagas, between CG that’s assaultively unappealing and rapid-fire editing that sucks the exhilaration right out of every fight scene.

Unfortunately, though, the leads — both of whom radiate individual charisma — are entirely lacking in chemistry. And it’s not just them. There is little connection between anyone, or even any event, in a project that takes all its assets for granted.

Iranian-born director Babak Najafi (“Sebbe”) and the four credited screenwriters... make things move fast enough to keep you awake, but not fast enough to finesse its plot absurdities past an alert viewer’s mind.

This Ben-Hur may not be an epic fail, but its steady stream of shortcomings are certainly a cautionary journey for anybody with the hubris to try and rebuild the monuments of movies past.

Set aside for a moment that the movie is literally hard to look at: it’s also tonally chaotic, and repeatedly trips over its own unspeakable horrors, before falling face-first into bowls of insufferable sugar.

The predictably loud and shockingly boring action caper 6 Underground is one-man-brand director Michael Bay’s answer to the “Fast & Furious” series.

There’s nothing wrong with Disney’s live-action remake of 'Snow White and the Seven Dwarfs' that couldn’t be fixed by making it 26 minutes shorter, 88 years ago and in hand-drawn animation.

The cars are the stars in Lamborghini: The Man Behind the Legend, a pamphletized biopic that does the easy thing — beautifying Italy and vintage automobiles — but stalls with everything involving humans.

Forster’s haphazard direction is so checked-out it’s painful – he shows no interest in giving anyone a scene that isn’t wholly about snapping something into place, and his comedy mise-en-scène and timing in even the simplest moments of humor is flat. And the less said about Thomas Newman’s phoned-in score, the better.

Cox’s film plays like a pureed mash-up of “The Wolf of Wall Street,” “The Social Network” and last month’s indie heist film “American Animals” — without the richness or texture of any of those films.

Neither intelligent enough to be involving nor fun enough to be trashy, this is a movie that would only work if it were a little worse or a lot better.

Poltergeist ultimately plays like the most perfunctory of remakes, one born of rights ownership and title marketability rather than a burning desire on anyone’s part to do something interesting or provocative with a classic. The 1982 original remains unassailable, all the more so when stood side by side with its pipsqueak descendant.

There’s plenty of fart jokes, forward motion and bright colors to engage easily-entertained children, but their parents will be subjected to yet another movie that has all the zing of watching evolution in real time.

While Sniper: The White Raven sometimes delivers solid meat-and-potatoes action movie violence, the rest of the film only confirms the hellish nature of war, which we’ve all seen before.

While Stoller’s script does boast a few solid laughs, everyone involved deserves and can do better.

When you stifle the emotional simplicity of a story like The Crow to emphasize the plot, the plot had better make sense. And it doesn’t. It’s got perplexing rules and a vague chronology and nothing seems like it matters anymore.

Even a weirdo drug comedy needs some clarity. And there’s not much to be found here, either in the muddy visuals, familiar special effects, or pursuit of psychotropic faux-wisdom.

At best, The Green Inferno is a reliable shock and disgust-delivery system. At worst — and it certainly veers toward the worst — it’s a racially reprehensible work that exploits one of the world’s most powerless peoples. And no number of movie-geek references to “Cannibal Holocaust” is going to change that.

Sam Raimi is a producer here, and it’s hard not to think about how he might have mined this material both for provocation and for fright; his “Drag Me to Hell” remains the gold standard of how to scare the heck out of an audience within the restrictions of PG-13. What we get instead here is a tepid little chiller with an overqualified cast.

The Face of an Angel is opaque in every way. Winterbottom will make another great movie. But if he didn’t want to make the Amanda Knox story, why did he so halfheartedly try?

There’s no rule that every criminal has to be charismatic, or all their heists have to be heart-pounding. They just can’t commit the one sin that’s truly unforgivable: leaving us bored.

This is a movie that neither works as a quirky dark comedy about the hapless people of a small town (on that note, the film is painfully unfunny), nor as a period piece on the anxieties of the Reagan era, no matter how many “1984” references the characters throw at you.

The problem is that not enough of the fun rubs off on us, the audience, to make this experience truly worthwhile.

It’s a frustratingly superficial, judgmental, surface-level thriller that undermines all its scariest moments by getting distracted at all the wrong times.