Ian Buckwalter

The result isn't fresh and realistic, though; it's clumsy and stilted. Improvised dialogue can work wonderfully if the actors have a solid feel for their characters, but everyone here seems rushed and uncomfortable.

This is a movie for those who watched Liam Neeson in "Taken" and thought, "Hey, this is fun, but can we do it without having to wait 15 minutes for the action to start?" Solomon has 90 minutes at his disposal, and doesn't want to waste time with setup.

Judging from the lack of care that went into making this one, I'm not so sure how much Schrader cares about the movies anymore either.

Feels from start to finish like a throwback to the action cinema and military thrillers of decades past.

With 26 films, one for each letter of the alphabet, one might expect enough gems in the mix to make up for any stinkers. That's sadly not the case.

Olek never decides what his film should be, and the result takes wild stabs at slasher gore, supernatural horror, black comedy and even social commentary, thanks to a zero-hour attempt to tie things up with a morality tale about the damaging effects of organized religion.

Without much actual character to latch on to, most of the actors seem lost and awkward, even the usually dependable Hall.

With the material they're given, they mostly just seem foolish for showing up to the movie to begin with. Audiences would do well to avoid the same mistake.

The Change-Up's spin on the material transplants the same old house on a crumbled foundation, trying to disguise its creaky familiarity with the gaudiest coat of paint possible.

Without the humor, the stereotypes that define these characters aren't satirical; they're just mean-spirited and dull.

Hafstrom, on the other hand, has some serious work ahead of him if he wants any kind of absolution after this wreck.