One of the most tedious apocalypses to come down the chute in recent years, this series gets lamer, and lazier, with each entry. The only ‘Trial’ offered by this film is the ordeal of watching it.

Killerman lacks personality both stylistically and in its overall story construction.

The death scenes range from goofy and completely preventable to modestly suspenseful.

The joyless and perfunctory Hot Pursuit would be a black mark on anyone’s résumé, but it’s an especially disheartening one for Witherspoon at this point in her career.

Failing almost entirely at amusement, “The Road Chip” may be most useful as a lesson for children to be more discerning about their movie choices.

The chief distinction of Replicas is how detached it often is from the expected sense of words and images.

Leatherface is second only to Rob Zombie’s “Halloween” remake in horror’s pantheon of terrible origin stories.

Dolezal desperately tries to align herself with absurd terms like “trans racial” in order to try to find some way of making her way of life acceptable, but she always comes up short, and it is impossible to have any sympathy for her because she is so transparently a manipulator and a guilt-tripper.

I Feel Pretty is an honest-to-God fiasco. Virtually every single aspect of this rigidly unfunny comedy is botched, from the characters to the plot, the themes to the core message.

A film with all the right things to say about how government, the media, and corporations ignore the emerging disaster of climate change, but couched within a satire so lumbering that it’s enough to turn a tree hugger into a pro-fracker.

It is an often nasty film, with little regard for anyone on screen, far more content to grasp for false depth rather than logic. It’s a shame there’s nothing to root for other than its dwindling runtime.

The characters, the situations, and the story are whatever they need to be in the moment to launch whatever joke the movie feels like telling at that moment. This is Wain and Showalter working in “Wet Hot American Summer” spoof mode, and if you're a fan of that movie, you may well like this one as well.

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.

Reitman clearly wanted to create a mosaic of sharp-edged shards held together by the mortar of art; with Men, Women and Children, what he's delivered is a group of broken bits mired in the morass of pretension.

Collateral Beauty is certainly a case of outright sentimental damage, not beauty, but of course the word collateral also means money that can be bargained with, and hopefully that’s what the ill-fated cast of this picture received in some abundance.

Selene seems ready to put this story behind her for most of Underworld: Blood Wars, and it’s hard not to wish that for Beckinsale, as well.

This is the sort of film where the plot and even the action become so uninteresting that you start asking plausibility questions.

Like a teen’s journal, writer-director Vaughn Stein’s debut feature is a scrapbook stuffed with allusions. The fondness is clear. But the resulting compilation is self-indulgent twaddle.

Aloft is simply adrift.

“Welcome to Raccoon City” overstuffs itself with so many characters and plot points that nothing has room to develop. The pretty-good cast gets buried alive in a rushed and ill-conceived screenplay, and it doesn’t help that the film is murkily photographed and tonally dreary.

It's a supernatural epic that never feels quite colossal or consequential enough, as well as an utter waste of Dwayne Johnson‘s unique dopey-flirty charm.

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 Gurinder Chadha (“It’s a Wonderful Afterlife,” “Bend It Like Beckham”) attempts to explore the cataclysmic human costs of the Partition without humanizing any of the Indian characters. And so we’re offered, on the 70th anniversary of the Partition (give or take a couple of weeks), another film about how brown suffering makes nice white people sad.

The film constantly reveals itself as having no idea how human beings speak or behave.

Directed by brothers Andrew and Jon Erwin, this ostensible femme-powerment film is strangely unsympathetic, even demeaning, to its target audience. Rather than pandering to moms, this unfunny, unabashedly anti-feminist comedy consistently points out how wrong or unnecessary or ungrateful they are.

Even as all the comedy to be found within this setup had already run dry a full movie ago, The Family Plan 2 keeps going back to the well in the desperate hope that there are still a few drops left.

To be fair, the unraveling of “Careful” is not the fault of the stars.

Pixels is ultimately a thoroughly numbing experience, not least because all the characters are doomed by a psychological flatness more two-dimensional than any arcade-game screen.