Amateurish horror-comedy.

The tonal weirdness and the philosophical fallacies and the general level of treacle did not sit very well with me. Then again, I have to admit I’m really more of a cat person.

Then again, even they may find that this collection of half-baked scenes, inscrutable imagery and, yes, a couple of splendid musical performances wears out its welcome long before its conclusion.

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.

The rampancy of clichés might have been okay were Dukhtar slightly more self-aware.

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.

Perhaps Wilson would have benefitted from the subtle method of Jaws, or even The Reef, by prioritizing teasing over showing. But here, the shark’s frequent appearances and unrealistic looks lessen the impact of the fear it’s supposed to spread, despite some truly unnerving camerawork by Tony O’Loughlan.

Daniela Forever, Nacho Vigalondo’s first film since his excellent “Colossal,” eight years ago, is a baffling disappointment, a sci-fi mindbender with echoes of “Eternal Sunshine of the Spotless Mind” and “Inception,” but no idea what to do with its many ideas or what it’s ultimately trying to say.

Feels like it probably began life as a one-act play, set almost entirely in Lucy’s living room and with a small cast of characters. It has that feeling of a piece that needed a bit more workshopping to discern its purpose and, like a lot of independent cinema that feels like it has theatrical origins, never becomes convincingly cinematic.

By the time Margo finally announces that she’s ready to leave, I was eager to gather my things and join her in escaping this would-be comedy.

Radium Girls is bogged down by a trite script, inconsistent character motivations, and an over-reliance on historical footage that has little to do with the film itself. The anger inspired by what happened to these women is invigorating, but that fury is rarely felt from what Radium Girls offers as a cinematic experience.

It would have been interesting to see a better version of a working class “Eat Pray Love” or “How Stella Got Her Groove Back” that swaps thrilling destinations outside the U.S. for a bus ticket somewhere in the States to reconnect with who you are. Juanita feels like an approximation of this experience.

Everything in Dark River feels like it’s designed not with real people in mind but with Serious Independent Cinema in mind. It’s a movie so filled with pregnant pauses and pretentious looks that it never develops an emotional undercurrent at all.

Faith of Our Fathers doesn't work, and not because of its Christian message. The main problems are the obvious script (every plot-twist can be seen coming from miles down the road), the bad acting, and the cheaply-done, unconvincing Vietnam flashbacks.

Horror movies don’t have to make a lick of sense as long as they get under your skin, engage in some intriguing myth making, gross you out, or simply terrify you. The Toll tries to do several of these, failing so badly that you may be angry at yourself for watching it.

This movie is one big, unsatisfying tease.

By the end of the film, we don’t really gain any new moral clarity about what it means to confront a world where might makes right, and we are left with the discomforting idea that the only thing ultimately protecting women from violence is a good man with a gun.

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

To be honest, this storyline is not noticeably stupider in theory than any of the other "Transporter" films.

This isn't an unwatchable movie, just an underachieving and forgettable one, and somehow that's more irritating than a disastrous swing for the fences would've been.

Pegg and Temple’s responsive, well-attuned performances are actually the most frustrating things about Lost Transmissions since they’re good enough to make you want to care, even when their characters don’t seem to be worth caring about.

Van Damme and Lundgren have worked together five times now since 1992, when the two '80s icons traded blows and bullets in the first "Universal Soldier" film. Not much has changed in 26 years since Lundgren, playing a berserk cyborg antagonist, stole that earlier film, too.

Endgame tries to be about many important issues, and ends up doing none of them justice.

To give Deception, the latest attempt to bring Roth to the screen, a little bit of credit, it does come closer than most to rendering his prose stylings into cinematic terms. But it does so in a film so lifeless and inert from a dramatic standpoint that few viewers are likely to notice or even care.

The opening moments of the first act are rendered as the film’s best, as No One Will Save You continues to fall apart due to a frustrating lack of narrative context.

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

The fact that director Ben Berman is making a documentary would make this concept quite unsavory, that is, if the entire enterprise weren’t so damn dull.

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.