The uniquely underwhelming sci-fi lawyer drama Naked Singularity is a weird mashup of ill-fitting genre tropes and quarter-cooked ideas about social justice and alternate realities.

It’s a horror movie for people who want to watch a scary movie but are hanging out with someone who gets scared very easily, and so they decide to compromise. Not too scary, not too silly, not much of anything really, but not much to complain about either.

The sheer number of artisans creating great work on this film does become a disappointment, though. Without a proper story or dialogue, what good is skin-deep beauty?

It never feels complete or thought through enough, either as a story or more crucially, an emotional experience — which is exactly what audiences would need in order to want to see more.

The premise of Truth or Dare is needlessly convoluted, and it is overloaded with information and side characters.

It’s kind of a mess, a crazy balancing act that flails as often as it connects.

If all else fails, at least it’s a movie smart enough to know that, frankly, you can’t beat Charlize Theron, covered in gold, shooting lethal spiky tentacles out of her midriff.

It’s legitimately difficult, from scene to scene, to determine what exactly about the increasingly lurid and far-fetched “Mute” made it necessary to be told.

It exists as a waste of time (although, one hopes, a sizable payday) for some very talented actors, and it’s proof that even Marvel doesn’t always get it right.

As alternatingly silly and serious as its mix of wisdom and wallops, and even with that blond bro gumming up the works, “Birth” is nevertheless zippy, B-movie entertainment.

Argylle is fun in spurts with a strong cast of characters that help you get through the overly exaggerated runtime. But the script boxes itself into a corner too often and falls into repetition.

The new film is ripe for big laughs with Anne Hathaway and Rebel Wilson as, respectively, the snobby British bombshell with sticky fingers and the rough-around-the-edges though equally cunning con artist, but neither actress is given rich enough material to bring the film’s most interesting ideas to the finish line.

Flynn’s ferocious commitment to the role is something to admire, even if we’re not completely convinced.

Women have been long overdue their “Goodfellas” or “Scarface,” but the not-too-hot The Kitchen is more superficial comic-book posturing than enjoyable blast of exploitation equality.

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.

Do not shelter yourself from the silliness of The Hurricane Heist. Put down your umbrella, throw your arms open wide and get soaked with its idiocy.

The Turning is not a total loss. There are some stylish, nearly giallo-like sequences and sensitive performances from both Wolfhard and Prince, both of whom look like they could go further with their roles if the script didn’t eventually limit them to reactions in the second half.

As if eager to self-sabotage its chances at being a somewhat palatable, not grossly preachy example for future projects, the final minutes of Run the Race do away with any measure of moderation the film had previously exhibited.

The Expendables 3 is silly and overblown, yes, and it could definitely do without Antonio Banderas‘ motor-mouth routine (not to mention an out-of-nowhere reference to Benghazi), but it's less silly and overblown than “The Expendables 2,” for whatever that's worth.

A crisis scenario striving for issue-driven importance that should have paid more attention to its dull suspense mechanics, slapdash style, and implausibility.

Sadly, Kraven the Hunter feels like it’s constantly being held back by whatever or whoever was holding the reins of the production. Even the ribald elements afforded by its R rating, usually an indicator of a comic book movie being allowed to go nuts, feels muted.

It’s not that 'Scream 7' is a bad 'Scream' movie. There are no bad 'Scream' movies (yet). Even the worst one is kind of alright, and this is the worst one.

Proud Mary did not screen for critics, nor should it have. It’s a copy of a copy of a mediocre original, with the drab aesthetics of a TV movie and the emotional hollowness of an infomercial.

Even if a superior version of 'Rebel Moon' does come out eventually, that doesn’t make these versions any better, and they’re the only versions we have right now. They’re both shallow and generic space operas, distractingly derivative of better films while adding very little to the mix.

While The Wedding Ringer isn’t the total waste of time that its painful trailer (and January release date) threatens, it’s also a movie whose occasional good ideas are ultimately drowned out by sloppy, contrived screenwriting.

About the best that can be said about the sluggish Self/less is that it’s a better Ryan Reynolds body-switching movie than “The Change-Up”; still, you’re better off seeking out “Seconds” — or heck, “All of Me” — instead.

It’s a mostly harmless time-waster of a motion picture; functionally a movie but without too much of that pesky depth or entertainment getting in the way.

The Assignment is reprehensible, yes, but it’s also dull and inept. Fans of Walter Hill should treat his latest effort like the kind of car crash from which it’s best to avert one’s eyes.