Kimber Myers

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.

As bland as its title, Something is a horror film with few scares and a mystery without answers.

There’s something special here, but it’s surrounded by drudgery.

It’s better than a number of indie films in its craft — particularly the thoughtfully composed cinematography from Kieran Murphy — but a flawed script ultimately keeps it from eking out a win.

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.

This family film feels episodic and entirely aimless. Set pieces that could have been fun feel rushed, and it’s unclear whether the problem originates with moments that weren’t animated or if connecting scenes and shots were cut in post-production.

Unfortunately, while its intentions are as pure as the heart of its heroine, the biography offers little depth or insight into Yadvi. She is presented more as a flawless saint than a human princess in this drama mired in poor narrative structure and few details.

There’s little fun to be had for the audience other than in some nicely executed special effects.

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

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.

Action star and martial artist White is full of his usual charm and wit, but he and his sparks of humor feel out of place in this otherwise dour film.

Last Curtain Call may lament the emptiness of its protagonist’s hedonistic and selfish lifestyle, but the film itself offers few pleasures with its poor pacing and cliched script.

Repetitive lyrics, nonsensical camera angles and incomprehensible edits will leave viewers feeling anything but positive.

Trying to straddle the space between “Primer,” “Dark City” and “Memento,” 7 Splinters in Time ends up a frustrating trip to no man’s land. Despite an ambitious premise and style, the neo-noir sci-fi indie is a fractured narrative that can’t achieve what its lofty ideas intend.

There’s clear affection for the ocean and its inhabitants in “Bernie the Dolphin,” but the movie’s script from Terri Emerson and Marty Poole is on the level of educational placards at a second-rate aquarium. It’s informative, but there’s little entertainment in director Kirk Harris’ film.

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

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

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.

There isn’t a lot of insight or depth regarding the bestselling author’s life and experience beyond his career achievements.

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

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.

Its C-movie horror should only be experienced while under the influence when your judgment isn't at its best.