The film aims to be a Gen Z/millennial “This Is Spinal Tap” but with much less clever wit and way more vocal fry.

While it does offer an extremely flattering view of all things Melania, outside of a few candid glimpses, you're not really going to learn a lot about who she really is.

[Kidman's] Lifetime-esque potboiler centers on a bored working mom who discovers her husband might not be on the level, but while the locale is postcard idyllic, the narrative is a never-ending slog, only getting halfway interesting with a silly third-act twist and a suddenly bloody finale.

It’s a bizarrely off-kilter affair that’s forcibly heartfelt and sentimental in one scene and overly mean-spirited in the next, and not even a few choice moments and some enjoyable surrounding weirdos can help two A-listers in way over their heads.

If only a psychic could have warned us about these wretched Spider-Man spinoffs.

The follow-up fails in every way, as a retread of the beloved ‘90s vehicle and as a youth-centered setup for future installments.

With Leto flying and jumping through New York City as a do-gooding bloodsucker with moral “Should I feast on my fellow man?” quandaries, “Morbius” is a lifeless slog with no real bite.

It's all mind-numbingly dull, and critics have exhausted every electrical pun known to man in saying that "Current War" "lacks spark."

Life Itself is a real downer when it comes to death: A few are so out-of-nowhere that it’s like the hipster version of the “Game of Thrones” Red Wedding.

Stuffed full of rampant badness, the scattershot comedy isn’t nearly as clever or subversive as it thinks it is.

Alicia Vikander worked herself into hardbody shape for Tomb Raider, which by contrast is a flabby, lazy mess.

Actually does manage to be the best of the BDSM bore-fests in the forgettable erotic saga based on E.L. James’ Fifty Shades novels.

The original Pitch Perfect worked so well because it was about the friendship of the Bellas amid the wonderfully weird world of singing dorks who didn't get the memo that they weren’t cool. That's now long gone, and what’s left is just way off-key.

The soundtrack for the P.T Barnum biopic musical The Greatest Showman is chock full of amazing and catchy tunes you’ll be humming after the credits roll...The actual movie? Send in the clowns.

This is a fantastical faceplant, and though Elba tries his hardest, what could have been the tale of an iconic gunslinger is a big miss.

'Burbs is a messy mix of Gremlins, Neighbors, Rear Window and Arsenic and Old Lace. [17 Feb 1989, p.6D]

Even if you love alien robots punching each other while tossing out insipid one-liners, it’s a painfully long two and a half hours where the biggest problem isn’t a lack of plot but way too many of them.

It fumbles because neither of the characters are particularly likable.

Despite the beautiful eye-popping world it creates, the sci-fi film Ghost in the Shell is a defective mess with lifeless characters, missed chances for thematic exploration and a minefield of political incorrectness.

The Great Wall crumbles mainly because of its wholly predictable plot, wretched dialogue and dud of a filmgoing experience from noted director Zhang Yimou (House of Flying Daggers).

There are a lot of negative things to be said about Fifty Shades Darker. But it does impress in one sense: The erotica lite sequel somehow manages to be worse than the stupefyingly bad "Fifty Shades of Grey."

There’s fish-out-of-water hijinks as the Martian boy looks for the dad he never knew, but the whole sci-fi narrative collapses into a mess of illogical story beats and groan-inducing quasi-tragic bits right out of "Love Story."

An unseasonably cynical assault on the holiday spirit.

A disappointing effort from a master filmmaker, Billy Lynn’s Long Halftime Walk trips in all the wrong places.

The major whodunit here is who made a best-selling thriller so darn boring.

Ridiculousness needs to abound somewhat in a film like this — reality takes a seat early and often here — but Resurgence pushes everything to an egregiously over-the-top and often infuriating degree.

Looking Glass is instead a competition to see how goofy Johnny Depp can be as the Mad Hatter and how many scenes (and hearts) Helena Bonham Carter can steal as the ragingly high-maintenance Red Queen.

May boast a star-studded cast but it’s a spectacular dud on every other level with tonal whiplash, a little casual racism played for jokes and a script seemingly pulled from Hallmark cards rejected for being too hokey.

It’s a dunderheaded follow-up, for sure, but it’s at least buoyed by Chris Hemsworth’s charisma and the few times where Winter’s War embraces complete camp.

Isn’t nearly as funny as it thinks it is spoofing spy tropes and buddy films and making a mockery of AIDS, politicians, movie stars and working-class Brits.

Moviegoers may wish that Will Ferrell's megalomaniacal supervillain Mugatu had won in the first Zoolander and saved us from another film with these boneheads.

True, most Christmas flicks tend toward the trite and predictable naturally but they just don’t have to be quite this insufferable.

A mostly dreadful reboot by director Camille Delamarre (Brick Mansions) that casts English youngster Ed Skrein in Statham's role as well-dressed driver-for-hire Frank Martin.

A plethora of beats drop but little else of note — musical or otherwise — happens in the Zac Efron DJ fest We Are Your Friends.

An unfortunate movie that does an embarrassing disservice to the decades-old property and is a frightful waste of all the talent involved.

Terminator used to be a sci-fi franchise defined by its cool time-travel concept and even better special effects. Unfortunately, it's "Hasta la vista, baby," to those good old days.

Hot Pursuit is this week's "Paul Blart." Which is to say, it's ill-conceived, not funny, overbearing and not in any way worth watching.

Slavishly follows the well-worn and soggy Sparks path.

It will be hard for audiences to remain even vaguely attentive during this slog of a feudal vengeance tale.

Get Hard is hard to sit through and hardly funny. So unless you're really hard up for entertainment, stay away from this tone-deaf raunchfest.

This second installment, based on Veronica Roth's series of YA novels, feels cobbled together and less focused than 2014's Divergent, and lacks tension and excitement.

The only redeeming feature about The Gunman is its exotic locations.

Sitting through the turgid and tedious S&M melodrama that is Fifty Shades of Grey may feel like its own form of torture.

Moore goes into operatic mode as Mother Malkin, a nasty witch who morphs into a menacing winged dragon. The worst performance, however, belongs to Jeff Bridges as a marble-mouthed, curmudgeonly knight named Master Gregory.

The sci-fi film's reported $175 million budget must have gone largely into loopy production design, wild costumes, outlandish hairstyles and colorful make-up. It certainly didn't go into developing a coherent script or coaching believable performances.

What was once fresh and innovative now is tired and overdone.

With a varied wardrobe of retro men's finery and a hirsute upper lip, the title character of the silly comedy Mortdecai is the center of a whirlwind of horrible British accents, too much gagging, not enough good gags and weak dialogue that, while not exactly terrible, is terribly boring.

Blackhat is a tedious, preposterous and incoherent cyberthriller that is anything but thrilling.

While this third installment offers a jot more humor (mostly unintentional), the action scenes are disjointed, badly staged and mind-numbing.

The Gambler is a hollow, overwrought and glibly cynical remake of a '70s drama about a self-destructive academic.

This ill-conceived sequel to 2011's entertaining Horrible Bosses is base, moronic, insulting and vulgar. It's also cringingly unfunny.

If there was any doubt that most things in society have been dumbed down in the last couple of decades, Dumb and Dumber To could be exhibit A.

The Homesman aims for a story that's poignant and told sparely, but comes across as mawkish, tedious and self-indulgent.

A deadly dull and overly familiar movie about summoning ghosts that draws upon nearly every horror movie cliché.

John Wick serves up a noxious, clashing blend of hyper-realistic and cartoonish violence. Too bad there's no cinema decontaminating service that can wash our memories clean of such useless gore.

Annabelle invites unflattering comparisons with scary movies that came before, but its disparate parts never coalesce into a genuinely fearsome thriller.

The performances don't help matters any, with acting ranging from tolerably earnest to laughable. Cage keeps Left Behind from being a completely unholy mess.

As forewarned, so avoid.

It's an idea that might have made for a mildly intriguing skit, but blown out into a full-length feature it's at best campy and at worst an amateurish, sentimental schlock-fest.

The two main characters in Are You Here spend much of their time stoned or weeping. Those who watch this dreadful film may seek to escape or sink into despair as well.

The Expendables 3 is as boneheaded and disposable as it sounds.

Is there a word that means the opposite of Cowabunga? If so, that's the word for the charmless, dull and derivative new take on the Teenage Mutant Ninja Turtles.

Viewers seeking a fresh comedy, a seductive romp, or even just an escape from boredom for a couple hours will be left dismally unsatisfied by this stilted, nearly humorless, non-titillating slog.

Even horror neophytes won't be spooked by a film that looks as if it were shot with a smartphone and an Itty Bitty Booklight.

Where 1991's "Thelma & Louise" was funny and action-filled, Tammy's story is thin, cringe-inducing and, worst of all for a comedy, not funny. Jokes land with a thud and the pacing is leaden.

Deafening, deadening and about two hours too long, Extinction would mark the weakest installment yet of the 7-year-old Hasbro franchise — if the previous three movies were discernible from one another.

Silly, unfunny and formulaic.

Alas, Wolf tries too hard to shock to be effective.

Mothers deserve a much better break than the hectic, shrill and dismally unpleasant Moms' Night Out.

Jude Law put on 30 pounds to play this slimeball. But the weightier question is, why would he bother to take this worn-out role, at any size?

Indisputably the most violent film of the year and disputably the worst.

It's tough to summon sufficiently negative language to describe the unfunny, desperate mess that is Bad Words.

Ostensibly meant to be light entertainment. If light is synonymous with preposterous, frenetic and noisy, it qualifies.

The result is a convoluted mess that has one good twist and two good car chases. But it's hardly enough to bring this spy flick in from the cold.

What is most troubling is how this film can serve to shape perceptions for impressionable kids. Young girls and boys will think that non-stop make-out sessions is all it takes to sustain "endless love."

Labor Day feels like a belabored, sappy slog.

Preachy, manipulative and emotionally barren.

Despite some high-caliber voice talent and shimmering animation, it's hard to get a bead on this tale.

Grudge could have saved itself with a rousing finale, but the buildup is so tedious you just want the fight to end.

Homefront is what "Breaking Bad" may have resembled had Sylvester Stallone written the TV show.

Most Ender's fans, of course, won't care about comparisons and consider the film adaptation a long-awaited victory in itself. Those fresh to the tale — or at least expecting something fresh from it — may wonder what the fuss was about.

This wrongheaded biopic that bears her name does nothing to burnish her legacy. In fact, the tedious movie lacks any insight into the characters involved, and surely would have the late Princess of Wales rolling in her grave. And it can't be easy on her sons to see their mother depicted in such a one-dimensional fashion.

The overwritten script and the ridiculous plot combine to make The Counselor a frustrating experience.

Insidious: Chapter 2 appears to be the sum of the unusable parts from James Wan's recent haunted house feature "The Conjuring."

Hell Baby is what happens when you try to parody a parody. The result is a film that's less than half as funny as its predecessor, and a sliver as clever as the original.

Move along, there's nothing to see and no one to root for in this murky franchise reboot.

A car-chase clunker that can't escape its own noxious emissions.

A film of repetition, a bloody dance consisting of three steps: stab, scream, repeat.

Though it has flashes of promise, Bones traces the footsteps of its fantasy film predecessors too closely to blaze anything close to an original narrative.

Kick-Ass is a prime example of a movie that never should have bothered with a sequel. Not only is its successor played-out, but it revels in carnage while lacking the visual style and gleeful humor of the original.

The Canyons is billed as an erotic thriller, but the sexcapades of these empty-headed twentysomethings are far more likely to elicit yawns than titillation.

We're the Millers is a twisted road trip worth avoiding. Not only is it not funny, it's offensive.

This insipid, and sometimes awkward, blend of animation, computer generation and live action wastes a ton of talent and lacks a true sense of whimsy.

Perhaps there was a clever germ of an idea here, but the five credited writers didn't develop characters, scenarios or rules in this sci-fi world well enough to engage the audience.

A failure from start to finish.

God may forgive you for seeing this needlessly brutal film. But you won't forgive yourself.

Even as temporary visitors, the audience can feel IQ points slipping away.

The story's appeal is lost in all the fights between the monsters and robots.