Peyton Robinson

The Pod Generation is thoughtful and timely but flat, an opaque expression of an overly simple thesis.

In choosing Neil as the center of Ella’s story and uplifting heavy scenes while skating through more grounded moments, “A Bit of Light” relies on artificial emotional investment and neglects the nuance and power of mundanity.

This idea of shopping local takes new meaning and adheres to the heartstrings as the credits begin, but much of the detail fails to make an impact, and “She Rises Up” becomes largely forgettable.

Its goal is to be a feel-good film, and it sort of accomplishes that. But from the predictable plot structure and series of overt zingers to the eye-rolling litany of on-the-nose needle drops, The People We Hate at the Wedding is awkwardly executed.

Imaginary is utterly forgettable, bland, and directionless, ironically so, as for a film that lauds the power of imagination, it shockingly neglects the very element of its own ethos.

Blink Twice sucker punches the audience with its sexual violence and then fails to find intelligence or dexterity in its handling of it or any of the themes running adjacent.

The spirit of religious promise that Perione’s film introduces goes quizzically betrayed. What ensues becomes an attempted campy teen thriller, but without the tension or reward.

Regrettably botched, despite its bold concept at its core, “Slanted” is too simple to make a statement.

Uglies is an Orwellian tale with weak conviction. Among its contemporaries, it’s a disappointing volume in the YA dystopian canon.

The Union delivers tonal whiplash on account of its failure to exceed at either end of its genre attempt at action-comedy.

One True Loves is so frustratingly superficial that it fails to gain a modicum of sincerity.

It’s flimsy and forgettable without tension or investment to inspire.

It moves at a breakneck pace to get to its primary plot, but neglects the emotional backdrop required to really invest. Indulgence itself is the film’s greatest lack.

While there's undeniable creativity in the film's visual and metaphorical aspects, there's a glaring neglect in the power needed for this film to find its own voice.

There's an overall lack of thoughtfulness in The Nun II regarding scares, and Chaves is vehemently loyal to oversaturated tropes. The movie starkly neglects creativity and, in turn, lacks effective fear.

The film falls victim to the subtlety of a ten-car pile-up. Neither the characters, all archetypal, nor the sequencing of the story, choppy and ham-fisted, inspire any engagement in its subject matter.

An action comedy with feeble fight scenes and little laughs creates a film that feels more like a screen test than a finished product.