Sam Fragoso

Collide has been sitting on the shelves for over three years; no need to get up now and see it.

Issues of continuity and logic pale in comparison to how the film forces Eckhart to act. It’s rare that we see someone as talented as Eckhart be relegated to work this shoddy and dispiriting.

Ideologically, morally, and narratively, the film contains no point of view, no perspective that suggests human beings joined forces to create a piece of art they can stand behind.

If the past is any indication, Hendler, Winchell, Bello and everyone else involved have the capacity to create interesting, original, and engaged art. Max Steel is none of those things.

The ending of this movie is monumentally, historically, even catastophically bad. Its big reveal is so mind-numbingly asinine that it nearly retroactively erases any intelligence you may have had before watching this movie. Yes, it’s that agonizing.

Instead of a film that’s gleefully outlandish (see: “Sausage Party”), Yoga Hosers is a drag. It contains none of the vivacity of “Clerks,” “Mallrats” or “Chasing Amy,” and plenty of references to those days of yesteryear. It’s a cannibalization of all that we once loved about Smith and his movies.

The Sea of Trees is a movie about guilt and grief that elicits just that in its viewers: guilt and grief. Because for every ephemeral moment to admire in Gus Van Sant‘s latest film, there are about a half-dozen more that make you wonder what went wrong.

Sundown is the misbegotten lovechild of “The Hangover” and “Project X”: Stupendous in its stupidity, offensive in its attempts to be funny, and downright unpleasant from beginning to end.