Love is Strange boasts an abundance of patience and kindness — but not much of a pulse.

Director Josh Trank, whose debut feature “Chronicle” put a smart new spin on superhero tropes, has assembled a quartet of engaging, charismatic performers and stranded them in a miasma of exposition and set-up that sinks the movie.

The Prodigy may offer some shocks to those susceptible to this genre, or who have never seen it before, but to horror fans it will probably seem unremarkable and even bland.

It’s just a disappointingly average superhero flick, with a familiar story, disinterested actors, some cool action sequences, and a whole lot of missed opportunities.

It scrolls past thoughtful ideas, too quickly to fully process them, and the experience is as cacophonous as the typical social media feed. I’ll grant you it’s thematically appropriate but it’s not cohesive filmmaking.

It isn’t to say that The Curse of La Llorona is bad; it definitely had the crowd I watched it with screaming in horrified delight and laughing at just the right moments. But it lacks any cultural understanding of its subject and is a missed opportunity to connect to the plethora of ghost stories the Latino culture contains in its soul. Que pena!

All that effort and innovation and ambition amounts, in Zemeckis’ film, to little more than a mawkish intergenerational drama. Here genuinely seems to believe that the history of the world peaked with the possibility of mom and dad getting a divorce.

Berg’s life is a natural for the movies, but it’s difficult to imagine how the film we got out of it turned out so dramatically inert.

We like to joke about how "this meeting could have been an email" but if all The Devil Wears Prada 2 can offer is Anne Hathaway, Meryl Streep, Stanley Tucci and Emily Blunt on-screen together again, then this film could have been a Zoom call.

At its best, Out of Blue captures a slightly intoxicated “eureka” sensation, as the whole detective genre transforms elegantly into a philosophical awakening, and as the greatest threat comes not from a murderer but from our protagonist’s sense of self (or lack thereof). At its worst, which is most of the time, it’s a conventional detective story that resorts to lengthy scientific-namedropping when it probably should be getting on with it instead.

It’s hard to imagine a film with less strength of conviction than The Flash, a time travel movie about why it’s bad to retcon the past, but which exists entirely to convince the audience that retconning the past, present and (potentially) the future of the DC superhero franchise is a super cool thing to do.

The first half is a drowsy day at the office, full of complex paperwork minutiae that, too much of the time, doesn’t even pan out by the end of the movie. The second half is more horrifying to think about but less scrupulously presented and, as such, harder to believe.

The minimal character development will frustrate filmgoers seeking substance, as will Coppola’s stilted dialogue.

The ingredients steadfastly refuse to whip up into the froth this film so clearly wants to be.

They’re all trying to make a meal out of starvation rations. The cast’s efforts aren’t in vain, and the film is better for having them, but a thing can get a whole lot of 'better' before it gets 'good.

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 intent of the film, and its timeliness, are beyond reproach, but that doesn't make Kill the Messenger as stirring or inspiring of indignation as it clearly wants to be.

Unfortunately, López can’t sustain the momentum. Every time a new turn emerges within Red, White & Royal Blue it feels like a new film has sprouted out of the story with embellishments that land as superfluous scenes begging to be deleted, instead of grace notes that elevate the movie.

The single-minded simplicity of its plotting can at times be an asset rather than a hindrance; in a summer even more bogged down by needless sequels and remakes than most, Crawl is, at the very least, a lean thriller that isn’t based on an existing property.

The Owners is tense, uneasy and brutal, escalating from the creepy to the ludicrous over the course of 92 deliberately unpleasant minutes.

A film that could have been taken seriously as a drama — a politically one-sided but nonetheless competent drama — devolves into ghoulish sideshow grotesquery.

Sure, Ghosted feels mostly awkward, but everyone seems to be in on the joke for some shameless fun. And that’s all you might get from this movie, a little pick-me-up before you ghost it forever.

The cynicism of Donnybrook is overpowering, but unfocused. It’s easy to see why some people would react strongly to its ugly tale of misery and violence, and yet without context and contrast, without making statements beyond “the world sure does suck,” Sutton’s film feels frustratingly hollow. It makes an impact but leaves no impression.

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

While many of the big moments of If I Stay can be easily dismissed, it's the little ones that elevate the film to at least mixed-bag status.

The stars certainly aren’t acting like their participation is a mercenary endeavor. Lawrence and Smith seem to enjoy their goofy-meets-gung-ho responsibilities, and that counts for something in these types of movies, as is a tone decidedly less mean-spirited than the last one’s, and a central car/motorcycle/helicopter chase that distracts you with thrills rather than wear you down with overkill.

Kosinski’s antiseptic visual style and Ehren Kruger’s limp screenplay (with a co-story credit by Kosinski himself) make 'F1 The Movie' an incredibly sterile film about virility. It’s so manly it can barely perform.

There’s no question that Elba is a talented actor, but his debut on the other side of the lens falls a bit short. Director needs to make decisions to get a story across, and Elba appears to have been too shy or too reluctant to make them. Yardie suffers for it.