Kimber Myers

The audience will likely spend most of the film squirming and grimacing in recognition at Aaron’s awfulness — especially when the film rewards him with an ending that is far kinder than the character deserves.

It’s the first feature film for director Aleksander Bach, and he shares the blame with the pair of screenwriters. His creation is a muddled mess that is briefly lifted by some fun set pieces, but never is more impressive than a 108-minute Audi commercial.

All around, the performances are fine, but they can’t move past the script from first-time director Jessie McCormack. She’s created a group of people that you’d avoid at a party, and being stuck with them for an hour and a half makes you feel like you’re being punished for doing something really awful.

The gentle drama Change in the Air is buoyed by its sweet spirit and a strong cast, but it ultimately tries too hard to win our affections.

The director gives the audience a story that takes off in as many directions as the prison corridors, leaving us lost and dazed. But unlike the characters, the viewers never feel a moment of fear.

The script from Billy Morrissette — featuring disappearing narration, awful characters and no humor — is largely to blame, but director Anthony Edwards makes uninspired choices throughout, such as inserting random animated characters and allowing Gina Gershon to do a cartoonish French accent in a supporting role.

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

Despite a strong effort from Naomi Watts, Shut In is more effective as a 90-minute commercial for the L.L. Bean aesthetic than as a pseudo-psychological thriller.

Nable’s script isn’t always clear on its characters’ motivations, and it drags on even at a brief 92 minutes. However, Outlaws should largely satisfy audiences who like their action movies savage and bleak.

While not everything connects in the movie, Hooking Up is saved by the efforts of Snow and Richardson. They make a charming couple, even if the film itself has less allure.

The Temple has competent visuals with a few particularly nice shots that establish mood. However, its script is poorly structured and opaque, offering little insight into what is terrorizing the tourists and why.

The fifth film in the series still executes creative kills; if only the same attention were paid to the rest of the movie.

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.

“Spark” should earn points for originality, but it never invests in establishing its world or its characters in a way that engages viewers.

Animated comic book panels hint at an attempt at style, but bad camerawork captures bad performances of bad dialogue.

The movie can only be classified as something truly terrible, escaping any other categorization that would make it resemble an actual film.

The biggest problem for Gun Shy isn’t its ridiculous premise or its frequently silly tone; it’s that it doesn’t fully commit to either.

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

9/11 trades on the emotional weight of its namesake day, manipulating audiences into feelings that have nothing to do with the mess that is actually on screen.

Mother’s Day is the cinematic equivalent of spilling boiling hot coffee on your mother when you bring her burnt toast for breakfast in bed.

Kendrick’s film eventually finds its legs in the final stretch, with an emotionally effective conclusion that might persuade even the cynics to its cause. Whether it converts them to running or to Christ will depend on the viewer.

While its predecessor at least pleased his fans, writer-director-star Perry’s latest offers few laughs and embarrassing post-production work.

Second-tier airline safety videos are more entertaining than this fourth-rate comedy. Flight attendants on Southwest’s less-traveled routes are far funnier than the cast here. Watching a lonely suitcase circle a baggage claim conveyor belt is more diverting.

With its solid production values, Unplanned has all the appearances of being a real film, but viewers in favor of abortion rights will find it to be pure propaganda. Writer-directors Chuck Konzelman and Cary Solomon spend more time making their talking points than developing their characters, who exist merely to make their arguments.

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.

Regardless of how you define your diet, At The Fork is effective and affecting in its offering of a variety of viewpoints.

This is a gorgeously made film, put together with as much care as its subjects devote to saving the remaining varieties of seeds.

This melodrama struggles with serious post-production issues and an unnecessarily complex story, losing any of its intended impact in the process.