Kevin Jagernauth

A b-movie potboiler at best, and indebted to countless other and much better films, this tedious, dumb, so-bad-it's-almost-funny procedural is an overstuffed thriller that offers one single idea, and proceeds to beat it to death, without much of anything to say.

A thoroughly dull, conventional tale of two people who can't find a compromise on their individual priorities to be together.

Self/less is brain/less entertainment, but if there’s any consolation, the impression it leaves is so fleeting that you can soon replace it with better movie memories.

Walter Hill’s legacy of pushing the edges of genre conventions made the prospect of (Re)Assignment, at least on paper, potentially dangerous. But the filmmaker’s touch is completely lost here, and the only danger the film winds up posing is to the time spent by those who choose to watch it.

For a movie that rides on a well-executed, modest and at times playful B-movie engine, the film stumbles in its final third, with goofy plotting... and a turn from the subdued to the hysterical.

There is a better, more contemplative movie to be made with this material, but with Brand and the filmmakers opting for cheap thrills, it leaves the movie, like the passengers on the plane, stuck on the tarmac.

Carelessly crass, and yet enthusiastically performed, the film does at least offer the curious spectacle of witnessing strings of jokes energetically thud in a movie that's not worth the commute to your nearest multiplex.

Kidnapping Mr. Heineken never conveys how a bunch of working stiffs transformed themselves into a coiled — if scrappy and ragtag — criminal operation.

Working at cross-purposes, Colonia tries to have it both ways, wanting to be a shocking true story drama and a riveting piece of moviemaking. But it’s not intelligent enough to accumulate any emotional payoff, and it’s too generic and unsophisticated in its execution to work purely as popcorn entertainment.

Can't Stand Losing You lacks that sense of the three dimensional when it comes to documenting the band, presenting a sanitized, bird's eye view of their history

For a film that literally isolates its characters from the rest of the world to confront each other head-on, the drama plays more conventional than challenging.

If you've seen the previous "Transformers" you know what you're getting into, only this time, the director feels uninspired, more like he's punching a clock at the blockbuster factory, with even his flair for inventive setpieces mostly muted.

The entire film seems cloaked with a general vibe of “good enough.” Embarrassingly cheap CGI effects, poor ADR, and slipshod, jarring editing are the technical failures that compound with the creative ones to indicate a movie that’s not just miscalculated, but seemingly committed to putting together, at its best, a deliverable product and nothing more.

For all of the delightfully deranged places Primal could’ve gone, it stays drearily buttoned up.

The Dying Of The Light is forgettable, anonymous and at times almost amateur, and the product of a director searching for a new method of storytelling.

When the script isn't working, Evans turns towards the soundtrack and leans on indie rock when he can (and when the low-budget picture can afford it) to attempt to do some of the emotional lifting.

Falls flat on its face thanks to a severe lack of self-awareness and an air of dramatic self-importance.

If Playing It Cool is meant to be an ironic interpretation of what happens to these characters, the film isn't sharp, smart or insightful enough about how actual humans interact to pull it off.

Let's Be Cops is a fine example of what happens when filmmakers rely too heavily on the potential chemistry of the cast, rather than giving actors something decent on the page to work with.

The filmmaker should perhaps thank his actors for putting in more effort than this movie is worth.

In turning his back on the familiar tropes of blockbuster comic book movies, Trank doesn't have a clear new identity for Fantastic Four to distinguish itself with, and the result is a movie rich with possibilities, but trapped in the basic structure of a superhero movie, with no idea of how to wholly circumvent traditional expectations.

Almost coming off like an academic blueprint of what a serial killer movie should look like, rather than anything with a distinct voice or authorial hand, "No One Lives" shocks by virtue of being completely uninteresting.

Sadly, the sequel isn't even so bad as to be memorable. Instead, it's vaporous, not even possessing the qualities indicating that anyone involved cared about any detail of the film.

Savannah does attempt to tell the story of the friendship of those two accomplished men, but does so in a manner that is so astonishingly tone deaf, confused and narrowly focused that it leaves you almost amazed at the lack of vision behind the entire enterprise.

With some films, you can tell where one or two things went wrong — perhaps a decision in script, or a performance that’s off base — but The Snowman is the rare movie where for every choice, there was a better way to go.

While the idea is original, it's also ridiculous, and the story is not close to clever enough to put it into any kind of context that is compelling, interesting or believable.

Eventually settles into a dull routine much like the dissatisfied characters of the film, which will make for an easily dissatisfied audience.

Tedious and painfully miscalculated, Dirty Grandpa is never as filthy or funny as it thinks it is.