John Fink

Like Holmes & Watson proved late last year, two comedic giants is just not enough to save terrible material that should have been fixed long before the film went into production.

Beautifully shot in Instagram-filter inspired hues by Tom Betterton and Adam Silver, After is occasionally aesthetically pleasing. Yet the talented cast is burdened by a dead on arrival screenplay that waters down what could have been an intoxicating tale of first love had it divorced itself from its dull formula that no doubt was influenced by committee and the studio’s desire to create what they think teen and tween audiences will enjoy.

The gags involve cocaine, bees, primitive MMA, raw unions, and a selfie that goes horribly wrong with the queen, all of which are terribly tired and unfunny. This is the kind of damaged goods studios have been quietly selling to streaming services.

A game of Truth or Dare can actually be a great way to get to know each other, the only problem here is that these characters are so paper thin, that it’s hard to care what secrets they may hide.

Unfortunately, the gleefully absurd ingenuity of Geostorm stops at its title.

Video journaling is nothing new and sadly Flames, though not without ambition, offers no improvement on the genre.

In the most disappointing miscalculation, Schumer and Hawn seem to be lacking chemistry together in a relationship that walks familiar ground without really offering any kind of subversive take on the material.

Take Me proves to be a tonal mess with weak comic timing.

Beat by beat, The Ticket offers one predictable, obvious revelation after another right down to its conclusion.

Ultimately, Boo! A Madea Holloween is a comedy with few too laughs, a stilted made-for-TV look, and weak character development.

[A] paint-by-the-numbers product, which ought to have been released directly to VOD.