Ernest Hardy

The thread holding it all together is endless, repetitive, interminable fight scenes whose limp choreography is spiced up with Matrix-style slow motion -- in 2015. For all that -- fists flying, bullets dodged, gratuitous female nudity -- the film is oddly inert.

For a film that deals with adultery, racism, immigration and class struggle, Loco Love is a startlingly weightless work. It has the antiseptic look and feel of an Olsen Twins video.

The film isn't very good. The Million Dollar Hotel is an uneasy melding of Hollywood shtick and art-house sensibilities.

Doesn't even rise to the level of camp, of being so-bad-it's-good. It's just flat out bad.

Playing like the redundant child of The Wolf of Wall Street and Boiler Room, Americons has its heart and justifiably outraged politics in the right place; it just lacks artistry or real insight.

Welcome to the Jungle, directed by Rob Meltzer from a script by Jeff Kauffmann, is satanically bad.

Wrong Cops is a tedious exercise in self-consciously hip lowbrow comedy.

The fact that real-life deadly racial animus in America is often cartoonish in its manifestation doesn't excuse Deadline's cliché-ridden characterizations of bigotry. Worse, the film has no pulse and no dramatic tension, despite its subject matter. It's a slog to get to its big revelations.

Wants to be many things, but ends up being not much of anything.

It’s like watching an annoying young drag queen who flubs the quips she’s stolen, refuses to shut up and thinks attitude is wit.

But Walking, which is well-acted and fast-moving, takes a tumble from which it never fully recovers once Josh's diary is found, and the rest of the film is spent tending to spilled secrets and their collateral damage.

The film taps the same spiritual thirst and anxiety that has made cultural phenomena of "The Da Vinci Code" and the "Left Behind" series. And it’s just as cheesy.

Ross's on-the-nose script offers little subtext or nuance, and the film—for all the inherent drama of the situation—has very little real-life grit.

The execution is actually worse than the premise. Nonstop racial, sexual and cultural stereotypes parade across the screen with little wit or real humor to guide them.

A mean-spirited, hyperviolent, stupid movie.

The film, directed by Jesse Baget, aims to be a satiric look at racism but at every turn flaunts the laws of logic and believability.