Kimber Myers

Darkness Visible is disjointed and drags out for far too long, but it features some effectively creepy visuals.

Directed by Sean Mullin, this is 83 minutes of marketing for mega-brewer Anheuser-Busch InBev, but it’s made with enough skill that it might bring some former fans back to the fold.

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.

With its uninspired ending, Alien Invasion: S.U.M.1 squanders its cool concept and a compelling, nearly solo performance by Iwan Rheon.

Low-key indie First Love has some interesting but fleeting moments in its story of twins in crisis, but it feels like a first draft whose script could have used more fleshing out, particularly in the characterization of its leads.

In its final moments, Boo! A Madea Halloween delivers a moral with after-school-special levels of subtlety. A jolting switch from oft-mean-spirited humor to a message movie, this comedy is unlikely to win over any new fans, but the devoted will find comfort in the familiarity.

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

Lady Bloodfight would be knocked out immediately if matched against classics in the genre.

This is a saccharine science fiction romance that doesn’t actually concern itself with science fiction or romance; instead, it’s the equivalent of astronaut ice cream, lacking in substance and crumbling to bits at the slightest pressure.

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.