Mike D'Angelo

Even had it premiered at, say, London’s Frightfest, The Last Day On Mars would be a disappointment. What it was doing at Cannes is a mystery.

Each scene in Off Label, viewed in isolation, seems perfectly fine, even fairly interesting. It’s how all of those scenes fit together—or, rather, how they absolutely don’t—that creates the overall sense of grotesque deformity.

Doesn’t even remotely qualify as flavorful. Among other demerits, this is the rare foodie movie that doesn’t seem to care much about food.

What makes Miss Meadows egregiously awful is that it has no perspective whatsoever on vigilante justice. As an ostensible work of satire, it lacks bite, never truly questioning or complicating its heroine’s actions; the film isn’t even outrageous enough to be appalling (which paradoxically makes it appalling).

Come third-act time, however, Enter The Dangerous Mind goes straight into the toilet, transforming into Jim: Portrait Of A Schizophrenic Serial Killer.

Watching Bill Murray go through the same scenario over and over is one thing. Experiencing the same feeble dick jokes over and over is another.

Butler sleepwalks through his thinly written role, and the ostensible tension between the two brothers, flaring up whenever the energy starts to sag, never feels like anything but a bald contrivance.

Katherine Heigl has exactly one funny moment in the dire black comedy Home Sweet Hell, which is still one more than anybody else has.

Sincerity and good intentions are all it has going for it, alas, and the result is the cinematic equivalent of a plate full of spinach.

A mid-film montage of nipples squirting milk high into the air like the Bellagio fountains shows Ben-Ari has a sense of style and humor, but her general approach is tediously earnest, resulting in a documentary with such niche appeal (just parents with breastfeeding problems, basically) that it belongs on a library’s self-help shelf.

Bob Byington’s fifth feature — his best-known previous film was 2009’s equally gormless "Harmony And Me" — will play like the worst kind of performance art, in which contempt for conventional entertainment functions like a badge of integrity. You have to work pretty damn hard to make Nick Offerman this unfunny.

First-time director Nate Taylor, who has a background in editing, gives Forgetting The Girl impressive technical polish, but the performances he gets from his young, unknown cast are strictly amateur-hour.

Still, it’s dispiriting to see him (Nelson) produce something as turgid and heavy-handed as Anesthesia, which employs a dozen or so cardboard characters as mouthpieces for singularly unilluminating thoughts about the ways in which people struggle to bury their unhappiness.

Three cheers, then, for Bingham Bryant and Kyle Molzan, whose joint first effort, For The Plasma, ranks among the year’s most singular movies, even as it also ranks among the year’s most painful movies to endure.

Almost paralyzingly dull until its last few minutes.

Any rooting interest in the central lovers evaporates, as both seem so terminally stupid that the thought of them potentially having children together is frightening. Maybe their divorce proceedings will be hilarious.

What’s left in the absence of McCarthy’s prose is a sincere but fundamentally pointless ode to a madman, which does little more than invite viewers to gawk at the unspeakable.

Young Ones looks promising in the early going, when it’s relying on Shannon’s customary intensity and building its harsh, arid world. (Principal photography took place in South Africa.) Shannon quickly disappears, though, and that’s when the dreary plot kicks in.

Most great-author biopics are just faintly dull and unnecessary. Rebel In The Rye, true to its ridiculous title, is proudly, even aggressively hackneyed.

The film’s monsters are so unconvincing that director Marvin Kren has no choice but to hide them as much as possible via rapid-fire editing and violent shaky-cam, relying on his actors to fill in the gaps with hysterical screaming.

The film’s more or less a mashup of Emmerich’s two wheelhouses: alien contact (Stargate, Independence Day) and cataclysmic disasters (The Day After Tomorrow, 2012), with some Armageddon thrown in for good measure. You will actually hear your brain cells commit seppuku as you watch it.

A deadly combination of enfeebled comedy and maudlin melodrama.

Cotillard tries hard to fashion a credible human being from this collection of shallow adolescent impulses, but the movie infantilizes Gabrielle at every turn.

For all the scary refrigeration on view, this is a concept that’s long since gone stale.

While many of the individual storylines are ludicrously melodramatic, building toward emotional meltdowns (and one suicide attempt), it’s the cumulative fear and loathing of everything digital that crosses the line into absurdity.

This feels more like porn than any solo feature Clark has ever made, in part because his non-pro cast is unusually wooden even by his standards.

Apparently unsure whether to go with the lazy idea of a disastrous beauty pageant or the equally lazy idea of a zany road trip, Raphael and Wilson lazily combine the two.

Stranded isn’t a for-the-ages howler—just a terminally stupid, monotonously unimaginative rehash of umpteen space-horror classics.