Asking for It, the pitifully underwhelming feature debut of writer/director Eamon O’Rourke, is like a guest that shows up to the party late, empty-handed, and without the common courtesy to at least be a good conversationalist.

Luke Greenfield’s atrocious Playdate is a remarkably stupid movie that thinks you’re remarkably stupid too.

All you need to know is that this slow-moving, sci-fi origin story was made by Norwegian co-writer/director André Øvredal, the man who previously gave us the far more entertaining “Scary Stories to Tell in the Dark.”

Crave, a creepy and deliberately paced thriller that is effective in its unpleasantness.

A blandly gritty piece of late-August mayhem that’s as forgettable as its generic title.

The best preachers always know how to tell a story and tie it back to a Biblical lesson, but director Sean McNamara has less than a youth pastor’s grasp on his main character’s crisis of faith.

As Roger Ebert noted in his review of "Grown Ups," they are "well-meaning people you don't want to see again any time real soon." My guess is we won't.

The scenic cinematography by Ben Nott is often beautiful, which distracts, at times, from the fact that the storyline is both convoluted in the most gratuitous way possible and that it’s enacted in the most unengaging way imaginable.

Truly dreadful...Replicas is completely ludicrous on a dozen or so levels, but it depressingly avoids the camp or style needed to make an implausible story work as pure entertainment. We’ll go with your goofy story, filmmakers, if you give us a cinematic reason to do so. Replicas never does. Not even remotely.

The third chapter is better than the middle one by virtue of having at least a few new ideas and one less CGI wild boar, but it’s still a shapeless mess, a movie that might have worked as the final act of one film.

The film's Gerber-bland back half is plenty bad, but the first half of Speed Kills features some of the year's worst filmmaking.

A gross, stupid and relentlessly ugly film from start to finish, this may not be the absolute bottom of the barrel in terms of Netflix Originals but nothing else worthy of that title immediately springs to mind.

Every holiday season sees a new influx of Christmas movies desperate to become the next big seasonal perennial destined to provide laughter, tears, humanity and healthy residuals for years to come.

On the plus side, the movie’s production values are very nice and its cast is notable. And as it happens, neither of those are pluses, because what they mean ultimately is that good money is put into this kind of worthless woman-hating garbage even now.

What a grim experience.

Fred Durst’s The Fanatic hates fans. It hates actors. It hates tourists, shop owners, and servants. It really, really hates autistic people. And it hates you. It’s a movie that thinks you’re an idiot, someone who won’t see through its shallow provocations, illogical behavior, and vile misanthropy.

The film has no flow, no rhythm, and absolutely no reason to be 119 minutes. And then there’s the broad racism and misogyny of the piece.

None of the actors are able to find a way to rise above the material, instead just plowing through in the broadest manner possible while trying not to look too obviously embarrassed.

The movie's promise collapses under the weight of inconsistent characters and a generic, cliché-ridden plot.

Some will dismiss it by saying it’s so ineffective as to never really aggravate critical faculties, but that doesn’t mean it’s not a complete waste of time and talent as well.

The problem with Samson is that while it cannot be faulted for its sincerity, it can be faulted for its sluggish pacing, inconsistent performances and lack of cinematic style that gives the proceedings a tacky feel throughout.

There are two scenes in Jason Friedberg and Aaron Seltzer's Best Night Ever that work: they are screwball and goofy which, unfortunately, only serve to highlight the fun film it could have been.

Smart and scary horror films about faith, and loneliness are rare, and for the most part, "I Will Follow You Into the Dark" is pretty exciting.

There's about half a movie in Overcomer. The other half or so is a pretty half-hearted sermon. Neither half is particularly worthwhile, and the whole is cheap, cheesy, and, to put it charitably, churchy.

A Haunted House 2 tones down the gay jokes but ups the streak of animal cruelty.

You’re going to Madea’s house to laugh, forget your troubles and perhaps get a good Christian message. To Perry’s credit, he does a far better job of folding that message into the film than usual.

The result is another vacuous melodrama/thriller that doesn’t lay a glove on the era’s historical complexities.

A trite, and slavishly inoffensive romantic drama.