Chuck Wilson

Aftershock is incompetently made and morally muddled, but since talent, morality, and Mr. Roth have never been on speaking terms, we're not exactly surprised.

So dull, a road-trip movie that's surprisingly short of both adventure and song.

McCormick and screenwriter J.S. Cardone don’t have one original thought between them, but they do appear to share an obsession with characters opening hotel-room closets in which the steel hangers gleam ominously.

Deadening comedy.

Just lies there, poorly lit and tone-deaf.

There are many things absent from this found-footage horror movie, including suspense, logic, and originality.

Mostly, Lafferty is all about expletives and sexual innuendo of the frankest kind, some of it so raunchy (and unfunny) as to make one wonder if the parents of the film's many child actors bothered to read the script.

Screenwriters Andre Fabrizio and Jeremy Passmore fail to conjure a single witty line. Nor is there any finesse to be found in director Brian A. Miller’s inept staging of car chases and shoot-outs.

Bad movies can be a hoot, but rather than campy, Ameer appears to be dead serious; and it's hard to feel anything but fury toward a filmmaker whose opening title sequence intersperses black-and-white flashbacks of his sexy young lovers with actual concentration-camp photos of stacked, emaciated corpses.

Director Chuck Russell ("The Mask") and screenwriter Thomas Rickman don't need new agents -- they need backup careers.