Even by the standards of raunchy, comic spoofs, director and co-writer Deon Taylor’s film feels especially scattered.

Ponderous and dull, “History of Evil” is the kind of script that plays with hot-button ideas instead of having a single thing to say about them.

Rio, I Love You feels like little more than an extended tourism promotion video.

Within these oversaturated times for comic book movies, Madame Web is blissfully breezy in its pacing, which helps make it a more enjoyable watch than some of the super-serious, end-of-the-world fare we often see.

It’s the closest you can subject people to a horror potluck without being "The Cabin in the Woods." So why can’t the six writers of this story have more fun with this premise?

In order to keep the flimsy narrative going, both allegedly brilliant characters are forced to act like morons throughout.

There is little else worth mentioning about this derivative, clunky, haphazardly written and visually dull sports movie except the performances by Christopher McDonald and Michael Nouri.

Edward Hall’s new adaptation of Noël Coward’s play Blithe Spirit is so aggressively un-funny it might make audiences unfamiliar with the script's successful track record wonder why it was ever a success in the first place.

The problem with Pawn Shop Chronicles is not the fact that it is a clone of "Pulp Fiction." The problem is that it is a lousy clone.

One of several reasons River Runs Red is such a resentment-generating movie is that it takes a vitally serious subject and makes such a relentlessly dumb hash of it.

This really is a paint-by-numbers action movie with two good things going for it. Those are brevity — it’s only 93 minutes long — and immediate forgetability.

The most impressive thing about Pierre Morel’s film is how it takes two actors as generally likable as John Cena and Alison Brie and makes them such bland avatars for actual people that they fade into the dull background of action-comedy noise this “movie” tries to achieve.

Based solely on its own merits, Shortcut is both an amateurish production and a mindless genre exercise.

Five Nights at Freddy’s 2 not only has a more involved story, but also features more engaged filmmaking throughout, with more camera setups and visual brio.

It's just a frantic, flash-cutting frenzy. Even the slower, more intimate family scenes feature so many swooping-up-from-below shots and so many sudden inserts that moments (emotional or physical) are never given a chance to land.

You’ve got to lower the bar for a cliche-at-best thriller like Survive the Night. If it keeps you awake, consider that a success.

The title is perhaps the cleverest thing about it.

Only trouble is, none of the elements — the scary stuff, the psychological drama, the family-dynamic crises — really deliver the wallop necessary to provide truly memorable horror fare.

The characters are bland, the dialogue is atrocious, the action is mediocre, and even the heist is a boring bust.

Dear David is branded content—uninspired and hollow to a fault—and perhaps that’s even more disturbing than a five-year-old internet ghost story.

The movie's characters are less compelling, however, and the film never deeply engages the issues of consent, culpability, and justice it asks us to consider.

It does not even work as a commercial, never showing us why these toys could be especially fun to play with.

This is an astonishingly bad film.

One positive thing about The Identical is that it will make you want to bust out Elvis Presley's early Sun and RCA recordings, songs like "That's All Right," "Lawdy Miss Clawdy," "My Baby Left Me," or "Good Rockin'" just to remind you that no, it didn't happen the way it did in The Identical. Thank goodness.

Willis really might as well have phoned in his performance. Part of me doesn’t blame him, but another part of me would like him to cut it out.

A dull retread of ideas explored more interestingly in other films and TV shows. Even the always-welcome Stanley Tucci can’t add any flair to a movie that feels so much like a relative of John Krasinski’s 2018 smash hit that one has to wonder if Netflix didn’t try to convince the producers to rename it “A Quiet Paradox.”

This is one of those movies that parents will have to ask themselves if they love their child enough to sit through it. At least "The Nut Job" is off the hook as the worst indie-made animated feature of the year.

It wants to inspire as well as entertain. It’s "The Hangover" aimed at Christian audiences, and if that sounds like an impossible prospect, well, that’s because it is.