Kimber Myers

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.

The sequel to “Divergent” is the cinematic equivalent of the KFC Famous Bowl: a nutritionally devoid mishmash of elements and past films that somehow manages to be less than the sum of its parts once cobbled together.

Italian director Roberto Andò’s film feels entirely manufactured, distancing itself from its audience and blunting its points in the process.

Thailand is lovingly shot with an eye for its vibrant colors, and there are some late scenes that show an impressive style from Green. Not everything in the script shows that same care, but this is still an interesting, if not wholly successful first feature from the star.

Other than the enjoyably silly banter between Damon and Pascal, there are few moments that endear you to anyone on screen. The movie’s tone veers from bombastic to goofy with speed but little grace.

A few strong moments from its stars brighten the film, but it’s never more than a mildly enjoyable diversion.

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

Songwriter is intimate while oddly lacking insight into the artist himself, beyond the heart he pours into his lyrics.

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.

Though its obvious message may not translate well outside its intended audience, the converted will likely be entertained by the well-produced package the moving themes are delivered in.

Those looking for inspiration will find it without looking too hard, but those who don’t attend church regularly will be as bored as they would be by a sermon.

Miss Bala fails both when judged on its own merits and when compared to its predecessor. Just like Gloria in the film itself, Rodriguez is the only hero here. She works hard to elevate the material, but both she and her character deserve so much better than this.

Ben Parker's feature directorial debut never takes full advantage of its small setting, resulting in a grim thriller that isn't as compelling as it might have been in stronger hands.

It’s not unpleasant, thanks to the energetic dialogue and songs, but it lacks the fun and focus that made “Pitch Perfect” such a surprise hit worthy of repeat viewings.

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.

Even with all of Haddish's hard work, she still can't clean up the mess she's landed in.

The Intruder is a blunt but effective instrument. This thriller lacks subtlety and craft, but it succeeds at what it’s intending to do: keep the audience stress-eating popcorn for 100 minutes and leave entirely satisfied with the experience they just had. It’s not a good movie, but boy, is it fun.

The film is effectively scary, filled with plenty of jump moments and a few slow-burning scenes, but the scares aren’t enough to balance the poor writing and lack of imagination.

Otherhood does have a few genuine and genuinely funny moments — thanks largely to its stars — but they’re overshadowed by the bad behavior of both the mothers and their sons.

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

At 107 minutes, Tulip Fever has been trimmed of every ounce of fat. But connective tissue, muscle and even the heart are gone too, leaving a lifeless frame.

It flails for the heartstrings, but instead of reaching them, it only tugs at that muscle that makes you roll your eyes at its old-fashioned, melodramatic attempts at emotion.

The oily slick of sin across the surface of this film isn’t what makes it wickedly fun; it’s the utter devotion to its bonkers twist, at once defying logic and good taste. Serenity knows it’s trash, but that’s not to say that it’s not entertaining trash.

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.