There is a big difference between a campy film that doesn’t take itself too seriously and one that is just wall-to-wall miscalculated execution. For clarity, “The Trench” is firmly in the second camp.

The Nowhere Inn . . . is a collection of comedic and musical sketches that are not funny, weird or thoughtful enough to sell its creators’ insistent, but mostly trite and undeveloped, ideas about the performative nature of self-fashioning and creative authenticity.

A perfect example of how lame, lazy material strands good actors, resulting in a movie that looks great and feels less so.

Between the script and the superior editing by Elliot Greenberg (“Chronicle”), there’s an enormous amount of tension and thrills to be found here; unfortunately, they’re all in the service of a movie that’s reprehensible to the core.

The Ice Road is so often inept and heavy-handed that not even the reliable presence of Liam Neeson can rescue it.

In the end, the only transgression The Misandrists really commits is self-satisfied solipsism.

If you thought Jerry Seinfeld’s funniest moments were in his American Express ads, then Unfrosted is the film for you.

Built on a shaky comic premise based on a real Craigslist ad posted by a pair of party animals — and smacked to life with relentlessly feeble, dopey improvisation and unoriginal crudity — “Mike and Dave” is more likely to tarnish its cast’s comedy-chops goodwill than to foster a desire to see any more raunch-till-you-drop yukfests.

A movie called Horrible Bosses, or even a movie called Horrible Bosses 2, should essentially write itself. Unfortunately, that's exactly what the creators of these two movies wanted their cast to do, and the result is puerile, ugly and painfully unfunny.

The film’s so inflated with moral importance that it becomes ridiculous, a Lifetime movie shoved into a cage and fattened with sermons and platitudes until it is ready to be served up cold and bland.

If A Haunted House 2 is a step up from the previous go-round, it's either because a slightly more talented crew of comic actors are being asked to waste their time or because 2013 offered a better crop of horror films (“The Conjuring,” “Sinister,” etc.) to be lazily parodied.

It isn’t comedy, and it isn’t drama, much less comedy-drama.

Ron Howard allows all manner of contrivances to pile up in David Koepp‘s screenplay, as if relying on constant reference to Dante’s Divine Comedy would make people think, “Ooh, this is clever stuff.”

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.

With fantasy material like this, we need to be made to believe in the inventions and the conceits, and we cannot do that if they are shot and staged in such a truncated and perfunctory way.

The Hitman’s Wife Bodyguard is a comedy with not one legitimate laugh, and an action movie where cars keep blowing up while the A-listers yell at each other, as though that were inherently amusing or entertaining.

Last Days is a film that is so contrived, superficial and misconceived, it does a disservice to the story with every choice it makes.

The first thing you need to know about Expendables 4 is that its studio somehow made the grating decision to fashion its title as Expend4ble. It’s a needless spelling challenge for a dull and vulgar flick with a lot of empty-calories muscle, but little-to-no skill or fun to spare.

This black hole of a film is a waste of this talented crew’s time, yes, but it’s also a waste of audience time, offering no laughs, no ideas, no fresh perspectives, nothing.

Without a character to really care about, the movie just comes off as fraught and over-stylized.

A stroll along the Venice boardwalk is likely to elicit more laughs, and probably even thrills, than Once Upon a Time in Venice.

Daniela Forever is afraid to ever dream big, leaving nothing more than a banal nightmare.

The Rhythm Section takes well-worn genre material and removes all the substance and ingenuity, leaving behind only an undeveloped plot, a blank main character, and a sense of gravitas that is entirely unearned.

Sheridan proves he can still act the crap out of a movie, even when crap is all the movie has to offer.

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.

Fist Fight is so ineptly assembled, shoddy-looking and devoid of comic tension or creative lunacy — like a movie comprised of outtakes — that you half-expect the filmmakers not even to deliver a fist fight.

If you don’t believe in this stuff, then the film is exploiting a young woman with mental issues. And if you do believe, it’s hard not to question the devil’s strategy.

It’s almost a romantic melodrama, but it’s emotionally inert. It’s almost a biting statement about cultural appropriation, but it barely shows its fangs. It’s almost a murder mystery, but it abandons the plot for vast periods of time. It’s almost a good film except, no, that’s really stretching it. At its best it’s an unfocused plod.