The bigger sin here is that “Nobody’s Fool” wastes its comic goodwill and performances by wallowing in the same tired story elements Tyler Perry has been milking on TV and in his movies for decades. He’s done this before, and you’ve seen it before.

Headey is coolly fierce and shares some powerful moments with both Wilson and Winstone as the reporter who threatens to expose this juicy sex scandal. But these scattered pieces don’t create a complete and convincing picture.

Me Him Her might look cool on the outside, but it's a vapid mess.

There are simply too many moments here in which the characters, who we are supposed to care about in some form, are conveniently dumb.

I Love America is hardly a life-changing rom-com. But it’s a good candidate for your next airplane watch.

No one on-screen is to blame for the failure of The Family Plan. They’re all fine, but they’re swimming upstream against a script that doesn’t give them enough to do and a director who fails at blending an average family and uncommon action into one vision.

A couple of pedal-to-the-floor melodramatic twists suggest that “Founders Days” might’ve been a bolder or just meaner genre movie, but its toothless satire, like its timid horror drama, sadly doesn’t cut it.

Kermani deserves credit for expanding on Hill’s story, which has a great premise, but not much else going for it.

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.

The resulting mishmash is as exciting as getting a tow from AAA, and just as slow.

A weirdly hideous hodgepodge of images and ideas, as convoluted as its confusing title would suggest.

What chafes is not so much the vulgarity (although it is as relentless as it is unfunny) but the movie’s intractable infatuation with it.

A decent idea for a low-budget movie that never gets past the idea stage, and after a brief while, you may start to question whether it should have been a movie at all, much less a 90-minute one.

The non-stop, navel-gazing, faux philosophical dialogue about love starts to feel like some strange experiment itself. It reaches points of near-parody, not unlike overhearing drunk college kids talk about dating apps and the meaning of love at 3 AM at a party you really want to leave.

Ends up being an emotionally empty, thematically ill-defined, and listless affair. It is never able to communicate the complexity of the woman at its center.

It’s not often you find a film that’s so artless, it feels like one big joke. But “The Home,” James DeMonaco’s silly octogenarian horror flick, is about as hopeless as you can get.

It’s not just a bad movie—those are common enough to be dismissible—but a movie that I found grossly condescending and manipulative, a dramedy that’s so deeply unconcerned with its actual true story other than how it can be crafted to emotionally impact an audience.

Neither erotic nor thrilling, but rather reliant on cheap nudity and multiple mistaken-identity switcheroos in hopes of keeping us on edge.

Here is a work so cloying and ham-fisted in its attempts to move you that there is a point when you find yourself thinking that the only thing that Zemeckis hasn’t thrown into the mix is a needle drop of “Our House” and then he proceeds to do just that.

It takes its sweet time getting to the point, and generally speaking, the less interested it is in moving the plot along, the weirder and funnier it becomes.

Having such a small number of characters, like the limitations caused by budgetary constraints, might sound like a recipe for creative claustrophobia, but Gentry turns these givens to his advantage, almost as if using Synchronicity to articulate a less-is-more filmmaking philosophy.

A B-movie that turns its violent rage on corrupt Los Angeles cops should be better than Body Cam. Unlike so many cheap horror films that show their flaws most explicitly during the scare scenes that are overly reliant on loud music, quick cuts, and attempts to make you jump, it’s really everything but the big moments in Body Cam that falls apart.

The Deliverance would have worked just fine if it had functioned solely as a domestic drama infused with the thorny, real-world issues of addiction, poverty and racism.

The Exorcist: Believer is a pretty good movie that's so stuffed with characters and not-quite-developed ideas that you may come away from it thinking about what it could have been instead.

The movie has an aura of indie navel-gazing that kept me at arm’s length.

Evocatively moody atmosphere, a timely subject, and a fine performance by Josh Hartnett cannot help Inherit the Viper overcome its clunky dialogue and formulaic storyline.

It’s a promising start, but one that ultimately doesn’t quite deliver. The movie’s plot feels scant, as if it’s only skimming the surface of what it’s like to be a child who has no one to trust or turn to in this world.

The result is a promising film that leaves a bad taste in your mouth, like a meal well-presented on the plate that just doesn’t fill you up.