Ben Kenigsberg

Nasty for nastiness’s sake, Kite drags to achieve its brief running time; you wonder whether the slow motion is an artistic device or a stalling tactic.

[A] preposterous ensemble piece.

The movie’s notion of fun comes to involve an unclean rest stop, slipped pills and an eminently foreseeable conclusion.

This film is so heavy with exposition that you would think that the director, Anna Foerster, and the screenwriter, Cory Goodman, had set out to complete a dissertation instead of a sequel.

Even without Mr. Rice in the news, No Good Deed would be damaged goods: an inert “Cape Fear” rehash that can’t seem to choose its favorite contrivance.

Pity, or prayer, couldn’t change the fact that Faith Ba$ed is abysmally unfunny.

This New York shaggy-dog story from Sujewa Ekanayake is an example of extreme-makeshift filmmaking — but not, unfortunately, a successful one.

Mostly, the movie, directed by Zeljko Mirkovic, consists of a barely organized series of interviews with notable Serbs and Serbian-Americans, and name-checks of others.

Feels motivated by envy more than anything else-it's a sour, petty act of mockery that values its own ineptitude over genuine cleverness, travestying Quentin Tarantino and others simply for dreaming up gimmicks that worked.

Directed by Brad Anderson, Worldbreaker is committed above all to shortchanging its themes, along with excitement and visual interest, a showy Steadicam shot notwithstanding.

If “Daddy’s Home” (2015) played like a distant, wayward cousin of “Step Brothers,” Daddy’s Home 2, again directed by Sean Anders, is the sort of relative you might disown.

Weather seems to exert an only intermittent influence in this insipid holiday love story, directed by Gabriela Tagliavini and set in the run-up to Christmas — at least in theory.

Whether it's the guitar-strum soundtrack, "lyrical" cornfield shots, or arrhythmic performances, Steal Me has at least one indie-film cliché too many.

In drag or out of it, the soft-spoken star has rarely been less convincing than when locking and loading from his home arsenal or dangling from a decaying Detroit edifice.

Rogue Hostage is shoddy work.

Fuu . . . cryin' out loud, this movie's dumb.

Acknowledging Hurricane Sandy, Jersey Shore Massacre reminds viewers that it’s hardly the worst disaster to hit the region. But it gives the Hindenburg stiff competition.

Distinguished mainly by its overqualified cast and lack of inspiration, Father Figures can’t decide whether it’s a gross-out comedy or an uplifting tale of brotherly love; it embraces the worst of both worlds.

It is difficult to believe that an actual first encounter with interdimensional beings would be such a complete waste of time.

The erasure of the difference between propaganda and reality cuts to the heart of what is appalling about Jihadists, a terrorist mixtape that appears remarkably uninterested in presenting these men in a more critical way than they would want.