It’s in love with its location and couldn’t care less about the characters. Even the kills are rote disappointments, at least by slasher-enthusiast standards.

Pacific Rim Uprising has zero emotional pull.

This silly chamber piece about sex and murder elicits only yawns, interrupted by the occasional unintentional giggle.

The 355 is the kind of star-packed, glossy adventure that wants to be the launching pad for a franchise; instead, it’s going to be one of the films most mentioned in future discussions regarding January as a studio dumping-ground for misbegotten movies.

Demonic isn’t just a low-budget supernatural–sci-fi thriller; it’s also a shallow one, a boring one, a poorly conceived one — and the characters stink too.

Audiences the world over made Neeson an action star when they fell in love with his “particular set of skills” in the first “Taken,” but this third go-round finds both cast and crew opting not to exercise any of them. Everyone involved seems to be determined to quash anyone’s interest in a fourth chapter.

Occasionally Norm and everyone around him will break out into a dance, and you have to wonder if these numbers were scheduled as bathroom breaks.

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.

A thoroughly unpleasant experience.

It’s just shameless promotion for a book about relationship advice, released on a streaming service that also sells happens to sell the book. It even features lines like, 'This story hit so hard I Amazoned a copy of ‘Relationship Goals’ right away.

Certainly among the worst films of the year considering the reputable talent involved, this inspirational drama stains Washington’s directorial filmography.

Sean McNamara’s fawning and superficial biopic about the 40th president of the United States treats the political figure as a godlike messiah who was placed on this Earth to vanquish America’s enemies, foreign and domestic, and fall perfectly in love with the perfect woman while riding horses dramatically across the California hills.

A convoluted plot leaking sappiness, in-your-face preachy dialogue, and TV-movie-style lighting are adequate, so long as its bigoted message is getting out there. God Bless the Broken Road is subtler than its predecessors, but that’s not saying much.

Zoran Popovic’s uninspired cinematography, paired with barely credible production design, give “Path to Redemption” the aesthetic feel of a low-budget reenactment segment in a basic cable history show. The performances operate at about the same level; no one gets to shine beyond over-acting during a few emotionally charged scenes.

Named as if it knew its destiny, The Disappointments Room brings together those horror movie standbys that just can’t quit each other — a creepy old home and a troubled family — for some truly convoluted, non-scary, and execrable psychological mishegoss surrounding a hidden chamber and the noxious historical shame it holds.

This is a movie full of characters you would walk away from at a cocktail party, engaging in the flattest brand of smart banter imaginable.

If all you need from a love story are two people smiling at each other and a narrator saying they’re in love, then Life Itself is for you. If all you require to show the passage of years is a CG montage or some cheap makeup, then Life Itself is for you. If the only way you’ll know things are tough is if everyone dies, then Life Itself is for you.

A brainless, exploitative folly which gives John Travolta free rein to mine the history of cringe-worthy autism portrayals for an offensively garish Frankenstein pantomime of unhinged obsession.

It’s got all the cinematic bravado of an expensive high school A/V project, and like a school project, it’s easy to root for the young people involved. They’re getting out there and they’re making a movie, dang it! Good for them! Not good for us, of course, but good for them.

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 film is bland and predictable, underestimates kids’ abilities to understand story and humor, and relies way too much on sight gags that are clichéd and overdone.

This is about as egregious as filmmaking gets.

Nothing feels remotely fresh, let alone savage or zany in The Wild Life. It’s a dull, uninspired and frantically tedious animated re-telling of the Robinson Crusoe story, complete with a menagerie of ditzy, caterwauling beasts.

It’s difficult to imagine anyone watching Life Upside Down out of anything other than abject desperation.

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.

“ASIII” feels like the most scattershot entry in the trilogy, despite a relative rally toward competence with the second movie.

The Haunting of Sharon Tate is an astoundingly tasteless motion picture, perfunctorily produced and insensitively conceived...It’s far too early to call “Haunting” the worst movie of the year. But if it’s not, it’s going to be a rough 2019.

Despite its A-list cast, can’t escape its shoddy writing and worse filmmaking.