Kimber Myers

Rattlesnakes imagines itself as a neo-noir, but that genre is more evident in its themes of revenge and ambiguous characters rather than in its nondescript style. This is a bland, unpleasant watch, all set to an equally grinding score.

While The Storyteller aspires to be a feature-length Hallmark card, it only manages dollar-store sentimentality in its plot and platitudes.

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.

There’s more sex than dialogue here; it’s a small win because the clunky dialogue and its flat delivery from amateur actors is nigh unwatchable, not that the sex scenes are much better.

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.

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.

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.

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.

Resident Evil: Welcome to Raccoon City” may reward longtime fans of the video games by returning to the series’ origins, but others will find themselves wanting to leave town, much like the movie’s characters.

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.

Peppered with dream sequences and flashes of its protagonist’s thoughts, Beach House is a murky mess. It feels more like a draft for a college creative writing class rather than a finished work.

Despite the presence of theoretically interesting elements such as dirty cops, amnesia and money-laundering, Killerman is two hours of pure boredom.

This latest entry in horror’s tradition of sorority-set slashers appears to have been made on a college student’s budget, shot by a horny frat dude and edited by a drunken pledge.

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

Jexi is such a dumb, lazy film that it might have even the most ardent cinephile reaching for their device, ready to defend their defection to the dark side when faced with this clunker of a comedy.

The film’s heart appears to be in the right place, but its missteps and melodrama make this a fromage unworthy of savoring.

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.

The Bye Bye Man just skirts so-bad-it’s-good territory, unintentionally making the audience laugh more than they gasp.

As unpleasant and inert as its protagonist, "Amanda & Jack Go Glamping" is a romantic comedy that lacks both love and laughs — and likable characters.

Scrolling through internet videos is generally regarded as a waste of time, but watching 100 minutes of cute animals on your phone is preferable to sitting through the laughably bad The Wolf and the Lion.

Blind stumbles with unlikable characters and a lack of depth, leaving audiences simply wishing for its ending, happy or not.

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

Director Elise Duran brings a background in reality TV to this sub-par rom-com, but there’s little of the real world here.

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.

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.

Berlin gives a good enough picture of its host city, delving into its complicated history and giving glimpses of its beauty. But few of the segments connect us to its inhabitants and visitors in any meaningful way.

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

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.