Nick Allen

In the true spirit of this profoundly uninteresting movie, Donald Cried can only shrug through its central notion that men will be sad boys.

It’s the closest you can subject people to a horror potluck without being "The Cabin in the Woods." So why can’t the six writers of this story have more fun with this premise?

The Queen of Spain can only offer scant entertainment for movie buffs and non-movie buffs alike.

Can You Keep a Secret? doesn’t elicit warm laughs so much as heavy sighs, even though the film has some zippiness — there’s a slapstick spirit to the movie that doesn’t shine because the jokes are plain, the couple is tough to root for, and the general tension behind this weird situation is on the lazier side of rom-com premises.

Dee Rees’ The Last Thing He Wanted is incomprehensible to an almost impressive degree — usually when a movie's narrative gets so out of control, it over-corrects itself at some point before the end. But not here.

One can imagine that Sollers Point might be better if its focus expanded to the area's inhabitants, not just Keith.

A wannabe-thriller about artificial intelligence with little wit of its own.

Though it boasts a large scope with its ensemble cast, huge sequences and the star power of the almighty Jackie Chan, Railroad Tigers lacks the vital focus to come together.

Coffee & Kareem is stock R-rated buddy-cop comedy shenanigans by way of cuteness, and it ain't "Stuber."

If having their own Momo is Netflix’s latest attempt to grab viewers, they’re gonna need a much more disturbing monster.

Euphoria struggles to be little more than a hum-drum meditation on kicking the bucket.

Shook, about an influencer being tormented by a mysterious caller, takes the bait on making a movie about such social media vanity, but its touch-and-go terror hardly offers commentary or cleverness.

Very little about this movie works, in spite of a certain ambition in telling a story based solely on unfathomable decisions.

As a bland addition to the already low-stakes tradition of Xmas rom-coms, Let It Snow could use a whole lot more tinsel.

Jenny Slate and Charlie Day deserve better than “I Want You Back,” a leaden rom-com that gives them a shot at being funny, charming, and sweet, only to squander it scene by scene.

Boarding School has some edge by being told from a child’s perspective, even though it's not for kids. A lot of great directors have told this kind of story, and while Guillermo Del Toro might be the most popular living one to do it, it’s Louis Malle that comes to mind.

As for Paxton, he enters the story with an edge, establishing the authority and revealing sensitivity of a single father with a powerful job. It’s not a career-topping role by any means but it is a reminder of how the late actor could take on a role with sincerity and breathe some type of life into it.

You’ve got to lower the bar for a cliche-at-best thriller like Survive the Night. If it keeps you awake, consider that a success.

Vampire stories can be so rote that it’s noticeable when the rules are even slightly changed, and that's when Boys from County Hell shows a little spark. But this is more the clear case of a horror movie that forgets to have fun.

Ross always preached that there were no mistakes, just happy accidents. A mess like Paint—all broad strokes and no point—proves that he wasn’t always right.

With Rockaway, you don’t have to know all the details of Budion’s life—or have even seen “Stand By Me”—to get a strong feeling of what’s honest here, and what isn’t.

Papi Chulo is a buddy comedy, but only by its ramshackle design — it’s a forced friendship, and it’s not cute, let alone funny.

Hand-in-hand with its bleeding-heart nature, Collide has the ballsy idea of making a serious action movie about a fool in love, but that just becomes one of its many bungled stunts.

Tulip Fever reveals itself to be so nutty because it explicitly believes it’s not crazy, rambling through its odd events and obsessions without an ounce of 17th century kitsch.

A superficial force eats at this movie from the inside, including the way that it’s a brawny script with nil visual grit, and a style that mostly announces itself with sporadic neo-noir lighting.

The Takedown works overtime to uphold the façade of heroic policing in the most generic way possible, for god knows what greater good.

Yet while the doc might prove that his approach worked, it’s progressively tedious to revisit these hits through such a thick air of self-affirmation.

It's telling that Demon House features a real-life exorcism, but it feels more superficial than supernatural.