Kimber Myers

Save for a few inspired moments (usually at the expense of the city of Fresno), Jamie Babbit’s screwball comedy is cringe-inducing and unfunny. Everyone in front of the camera here deserves better, particular Judy Greer in a rare starring role.

Despite its intentions to get close to Mercury, Bohemian Rhapsody is as intimate as a sold-out stadium show, with none of the accompanying power.

Ostensibly aimed at an adult audience that craves equal parts romance and raunch, Fifty Shades Freed appears to have been written by a teenager – and not just because of its groan- and giggle-inducing dialogue, lack of emotional investment and thinly drawn characters. There’s no knowledge of any element of how the world functions, particularly in its approach to relationships.

Though 47 Meters Down perfunctorily succeeds in its aims to terrify the audience, it’s not as much fun as it could be due to it’s beyond brainless script, its casual sexism and its idiot characters.

This is a film that’s better off unseen despite its lovely visuals.

The 1974 film was a nightmare that felt too close to reality, but this is merely unpleasant — and not in a good way.

Utterly dull thriller Drone tries to raise ethical and moral questions about modern warfare, but the audience can only dwell on the illogical plot and unsympathetic characters — if they can engage at all.

Even a cast with this many award wins and nominations can't salvage a script that will have viewers audibly sighing, rather than laughing.

The well-intentioned script from first-time writer-director Saila Kariat tries for emotional honesty but feels like a soap opera, and the cast doesn’t help it advance past dour melodrama.

Director Akan Satayev’s hacker thriller looks gorgeous, featuring locations around the world shot with crisp cinematography by Pasha Patriki. However, the script from Sanzhar Sultan is poorly structured and silly, revealing the emptiness beneath the shiny facade.

Actress and screenwriter Jessalyn Maguire brings her own challenges with anxiety and depression to both the lead role and the script, but the good intentions don’t create a good film with this psychology-driven drama.

The script from director Scott Smith and co-writer Kevin Guilfoile thinks the rivalry between the two collectors is enough to sustain the narrative, but it doesn’t devote much of its energies to developing the relationship between Alan and Paul.

There’s no shortage of areas to explore in philosophy, science and religion, but The Man From Earth: Holocene would rather spend its time with unlikable characters than deal with complex concepts.

Wallflower is a grueling viewing experience at times, and it never truly justifies its existence and the audience going through that pain.

Director Gustavo Ron and co-writer Francisco Zegers fill the movie to bursting with plot, turning what might have been a delightfully airy cream puff of a film into a soggy disaster.

Beyond its theme of the power of God’s love, Run the Race centers on the importance of forgiveness. Viewers who can overlook its flaws will find value in its message, but those outside its target demo will be unable to see beyond its cinematic sins.

The movie attempts to comment on reality-show culture, but it offers little insight beyond its ill-conceived premise. With suicide at its center, The Show is both tone-deaf and a tonal mess.

Contract to Kill looks remarkably cheap for a film whose characters wear Rolexes and take private planes. The money also wasn’t spent on the script from writer-director Keoni Waxman, which confuses a stream of expletives for wit.

The script blunts its own emotional impact with coincidences, odd choices and an ending that feels too neat, even for an inspirational film of this nature.

Written by and starring a bleached-blond Blake Jenner, Billy Boy is ambitious in its structure, style and editing, but the final product is disjointed and irritating.

7 Guardians of the Tomb should be a B-movie blast, but it never seems aware of its own silliness.

This feels like two movies for the price of one, but the audience isn’t getting a deal.

Liza, Liza, Skies Are Grey lacks a sense of what is essential to its story. It dwells on insignificant moments and inserts transition shots without logic, but skips over scenes or dialogue that could support Liza and Brett’s characters, their relationship and the choices they make.

Horton shows clear affection for the genre, but only the most indiscriminate horror fan could love this lumbering five-headed monster.

Though Skin in the Game is earnest in its attempts to shed light on human trafficking, the good intentions are buried under a thick layer of grime from its trashy script.

Other than a single, solid jump scare, this supernatural snooze barely qualifies to bear the genre's name.

Garrison’s McNeely damns the overlong film; he’s neither a good man nor a good character, someone that we can’t care about or care to watch.

It approaches everything from suicide to Socrates with a facile touch, dealing with serious issues with an almost startling lack of depth and intelligence.