Peyton Robinson

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

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

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.

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

Both the artist Lil Baby and the film about him pursue a deeper gratitude and respect for both this rap star specifically and the genre itself.

The project of Anthem is special and compelling, but the documentary lets itself down.

As much as Henderson is looking for answers, she’s demanding an appreciation for the implication of asking. She doesn’t seamlessly connect her investigations into Levi, Yucca Mountain, and Las Vegas history, leaving parts of the documentary feeling disjointed, but the effort is emotionally recognizable enough to leave you with impactful questions of your own.

The spirit of competition, in both its heart-racing fulfillment and overwhelming drolls of anticipation, is felt in the thoughtful execution of Pianoforte.

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.

With less textbook dedication to its metaphors and more sleight of hand in its structure, “Cellar Door” would accomplish the tension it intends, but its bland approach fails to inspire investment.

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.

It’s a bit of a tropey mess, but the intent is clear: to have fun. And while the fun-having of the filmmaking itself translates well to the screen amidst a few genuine laughs, “London Calling” is mostly stale.

With the added threads of female-specific and child celebrity woven through, “Trust” had the potential to be not just thrilling but thoughtful. Yet with an unfocused eye and clumsy pen, it falls way short of the mark.

While the film is an informative tale of international politics, it’s also a warning sign and rallying cry for action back home.

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

Sykes steps into the role enthusiastically, but Miller’s script (with cowriter Anita M. Cal) is beat-you-over-the-head melodramatic, making Sykes’ committed effort to deliver heartfelt pathos all the more difficult to buy.