Issues of continuity and logic pale in comparison to how the film forces Eckhart to act. It’s rare that we see someone as talented as Eckhart be relegated to work this shoddy and dispiriting.

The movie has too much on its plate in selling its paint-by-numbers uplift.

One of the more plastic molds of troubled heartthrob storytelling in recent memory...is the kind of dispiriting effort that thinks it’s scratching an itch for masochistic young girls, but primarily suggests that romance, desire and sexuality aren’t worth genuinely exploring.

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

With a combination of jokes that don't land and a constant flurry of exposition and plotting to keep these flimsy plates spinning, Let's Be Cops more often than not feels more like a court-ordered defensive-driving class than a rousing high-speed chase.

The movie’s climactic exorcism jamboree provides some relief from the movie’s overwhelming dullness, and the final segments put the movie’s 3-D to use, but overall, Paranormal Activity: The Ghost Dimension feels like the last wheeze of a played-out series.

Director Sean Anders (“Horrible Bosses 2”) and his co-writer John Morris (“We’re the Millers”) execute what are supposed to be the laughs with blunt force. The jokes announce themselves with heavy footsteps, and almost none of them land, stranding a talented cast with terrible material that they’re straining to sell.

A-X-L may be a dog, but he’s designed to be a weapon, so he looks like nightmare fuel. And nightmare fuel usually isn’t the best centerpiece for a family-friendly flick.

Peppermint ultimately possesses the stale predictability of an unwrapped candy discovered at the bottom of a purse.

The film has no suspense, wit or shock value. It’s too ploddingly paced to elicit a proper jump scare, and it’s nowhere near insightful enough to get under the skin. The only thing interesting about this disappointing follow-up is how it takes the original film down with it, retroactively hurting the chances of “The Boy” becoming a beloved cult classic.

If the undemanding silliness of the first “Hot Tub Time Machine” was your cup of comedy, then you may well enjoy another plunge in these waters. Apart from a few laughs, however, I found the experience tepid and soggy.

Visually, Ratchet & Clank has its appeal.... But the story is ultimately too predictable and forgettable to make Ratchet & Clank anything but a kid-targeted holdover between slavishly awaited tentpole behemoths from the comic book world.

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.

There may be no more unexpected (or damning) faint praise for David Ayer’s new movie Bright than this: It made me wish I was watching “Suicide Squad” instead.

In its conflation of happiness and self-knowledge, “Hector” often feels like the visual approximation of a therapy session. And just as therapy is work, enduring this mess is exertion, too.

The film never fully commits itself to neo-noir beyond the plot.

The Lost Girls gets stuck somewhere in the middle of magical realism and a gritty psychological exploration of what it means to believe in Peter and still live in the real world.

The bad news is that no matter how charming or fizzy the chemistry between the actors might be, they're still trapped in the dead, fake melodrama and brainless coincidences of a Nicholas Sparks story.

The problem isn’t that the new 'Animal Farm' is unfaithful, it’s that the changes aren’t an improvement.

If an algorithm recommends The Emoji Movie, Weitz’s film argues, there’s something very, very wrong with that algorithm — and there’s no denying that logic.

For all its cheap talk about the importance of innovation, Agent 47 just feels like a copy of a copy of a copy.

Wahlberg and Ejiofor muster enough charisma to keep us watching, and Jason Mantzoukas cuts through the generic feel with some much-appreciated weirdness as the Artisan.

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.

In attempting to work through its family issues, it arrives at catharses that are contrived and unearned, and in attempting to find humor in this pungent situation, it fails to deliver laughs.

The humor is way more miss than hit, prone to the kind of raunch (analingus debates, homophobia teasing, who’s-hot-who’s-not) that feels available, not thought-out, and pain gags that don’t get funnier the more they’re repeated.

Whichever way you wield it, Winchester is a misfire.

The Strangers: Chapter 2' is an improvement on 'The Strangers: Chapter 1.' Then again, a moderate case of food poisoning is an improvement on a severe one.

"90 Minutes" is one of the better faith-based films out there.