Britt Robertson in TomorrowlandTOMORROWLAND

To the credit of Disney's marketing team, the intriguingly vague previews for Tomorrowland provided just enough (a grizzled George Clooney, "directed by Brad Bird" in the credits, no number at the title's end or colon in its middle) to make the film appear promising without explicitly stating what it was about, or whom it was meant for. Having now seen Bird's futuristic adventure, I know what it's about - mainly because, from its first seconds, Disney's latest live-action endeavor keeps spelling out its themes in big block letters. Whom it's meant for, however, remains a mystery.

Rosemarie DeWitt and Adam Sandler in Men, Women & ChildrenMEN, WOMEN & CHILDREN

The single most definitive shot in director/co-writer Jason Reitman's "Ee-e-eek! The Internet!" melodrama Men, Women & Children is one from the previews, in which Ansel Elgort trudges toward dozens of fellow high-schoolers, all of whom are so fixated on their phones that they can't see anything, or anyone, directly in front of them.

Naomi Watts and Tom Holland in The ImpossibleTHE IMPOSSIBLE

Juan Antonio Bayona's The Impossible, based on one family's experiences in the wake of 2004's horrific Asia tsunami, is a supremely well-designed, emotionally draining disaster tale, and its opening minutes filled me with great dread. If only that dread were caused by the approaching tsunami.

Sylvester Stallone, Jason Statham, and Terry Crews in The Expendables 2THE EXPENDABLES 2

If home viewings of The Expendables 2 are one day turned into a drinking game, and I pray that they are, one of the rules has to be that you chug every time the film employs a thudding cliché from the '80s, either directly or indirectly. A plot involving stolen weapons-grade plutonium? Drink! A team of he-men astonished that a new female recruit can actually do something? Drink! Dolph Lundgren wrestling with a Rubik's Cube? Drink twice!