As a big sci-fi entertainment, it hardly feels like a movie about the problems of two emotionally desperate people in a crazy situation, and therein lies the problem.

[McCarthy] and her husband Falcone (who also directed) have created a character comedy that's missing both comedy and character.

It’s impossible to watch a film in which Jesus Christ says it’s wrong to profit from religion and then watch the filmmakers panhandle for profit at the end. At least, not without imagining the screen getting struck by lightning.

A spectacularly misjudged mix of humanitarian intentions and gonzo-terrible execution.

Even as Paulson is putting her all into the film and can firmly grab hold of you at some moments as her strong-willed matriarch comes undone, much like the dust that is floating around the confined setting, it all slips through her fingers.

The canned British character study Mogul Mowgli disappoints on a few levels, especially given its admirable focus on authenticity and cultural identity in a kitchen-sink drama about Zed (Riz Ahmed), an aspiring British Pakistani rapper.

It’s better than nothing to mark the cheesy holiday, but the lack of effort shows.

You learn about as much from the movie as you do from the trailer, and the trailer is free to watch and saves you a lot of time.

Gallo, whose direction has an undeniable paciness but a numbing competency, seems eager to check things off a list and move on.

The self-serious meditations on fate and responsibility — as well as the uneven but ever-charged flare-ups between Izzy and whoever she’s talking to — recall exercises in an acting class. By the end, we understand her motivations and recent biography, but precious little about who she is as a person.

Collide has been sitting on the shelves for over three years; no need to get up now and see it.

While not enough to sell Lyle, Lyle, Crocodile, Bardem’s mission to out-cartoon his animated scene partner (admittedly not difficult) still feels like a blow struck for old-school flesh-and-blood eccentricity in the age of blah digital cutes. May that battle continue.

The excellent cast of This Is Where I Leave You cannot be faulted; all talented performers, they collectively make a constant effort to bring some sort of life to the limp script and uninspired direction.

The meager tension generated by characters discovering their survival instincts, and why you might not want to be next to them when they do, is quickly dissipated by the realization that, at a certain point, the movie is an assembly line of killing, and not a terribly exciting or entertaining one at that.

Overall, The Little Things — which is how Deke refers to the details that lead to killers being caught — isn’t much of anything.

The cast of old pros (including Bruce Willis as a soldier of fortune) amble through amiably enough, but a few laughs here and there aren’t enough to make this movie come together in a satisfying way.

Whether or not one should tamper in God’s domain remains a matter of opinion, but Victor Frankenstein provides evidence that mere mortals should not mess with what Ms. Shelley hath wrought.

If you hired an independent filmmaker to create a perfume ad, and then turned that ad into a full-length movie, you’d probably get something that looks a lot like Dimitri de Clercq’s directorial debut, “You Go to My Head.”

The Intruder rings incredibly hollow.

Despite its feel-good title, The Kindness of Strangers is a rather bleak movie, one so tied to the miseries of its characters that it’s difficult to see the point of it at all.

The early scenes are at times surprisingly awkward – and while things get better when Chickie gets to Vietnam and Russell Crowe shows up to (briefly) ground the movie with his quiet gravity, “Beer Run” still lurches from silliness to preachiness in a way that’s rarely satisfying.

Combines the barely-there characterization and irritating cutesiness of “The Smurfs” with the hideous character design and awful pop covers of “Strange Magic.”

It’s a cute premise that ultimately gets wrung so dry that you’re left waiting for it to finally stop. The majority of its jokes either land flat or are run into the ground. Even worse, it pulls on the heartstrings with such force and impatience that the audience manipulation is palpable in every painfully predictable scene.

Overall, the whole project feels weirdly empty and off-puttingly self-congratulatory, as though the very idea of turning women into action heroes is revolutionary.

Ultimately, Equals fails because Silas and Nia aren’t all that much more interesting as a romantic couple than they are as zombie-like individuals.

The loss doesn’t hit, and the comedy doesn’t land, leaving Dean a wasted opportunity that offers a few talented artists the chance to do fine work in the service of an empty vessel.

This true-crime saga of the Gucci family losing control of their own fashion empire could have been a full-blown camp classic were it not so frequently dull and tentative.

There’s nothing brave about this movie. There’s nothing new either. And sure, it technically takes place in the world, but one out of three is bad.