The execution, however, leaves something to be desired, as this effort seems more visually muddled and choppier than previous installments.

Babbit's flat direction has none of the lurid appeal or humor that (along with a much more appealing cast) sustained John McNaughton's notionally similar "Wild Things" through crazy plot contrivances.

Obvious parallels to "Thelma & Louise" do little to raise the dramatic stakes here.

While this is indeed a likeable enough group, watching them interact with each other over the course of 80 minutes becomes a bit wearisome.

Tiny Times certainly offers fantastical lifestyles which is nearly unattainable for most of its viewers. But what makes the film even more beguiling is probably its inability to create empathy, as it goes without accounting for where these individuals came from and why their friendships were so rock-solid.

Watching your friends’ actual wedding videos, however painful, would be a more edifying experience than sitting through Breakup at a Wedding.

The visual images are manipulative and simplistic; like the verbal ranting, they are devoid of depth.

Solid performances are undercut by lack of storytelling integrity in this plodding biopic.

Annette Haywood-Carter’s slow-paced film features a plethora of colorful characters and incidents that register with little dramatic impact.

The film’s facile message of cross-cultural unity owes more to fairy tale than reality, but the action is slick and the story gripping.

Though full of material that will move sports fans, some questions of emphasis and lack of polish make the film less galvanizing than it might've been.

It doesn’t really add up to much, beyond a timely reminder that it would be better for everyone to stop uploading and downloading and just unplug and be human.

The fight sequences are staged with admirable proficiency despite the often cheesy special effects.

A technically polished but mostly unmoving example of a genre (the watch-kids-do-something-hard doc) assumed to be inherently charming.

A formulaic comedy that displays as much subtlety as its title.

Writer-director Shaka King clearly knows this world, perhaps too well, but making pot use, or denial, the focus of nearly every scene becomes tedious.

With a running time of nearly two hours the overall silliness wears thin rather quickly.

The film unfortunately depicts black female sexuality, a topic rarely portrayed onscreen, with all the depth and subtlety of a late night Cinemax offering.

This static, talky effort ultimately doesn’t justify its feature-length running time despite some strong performances and the occasional moving moment.

There's little in the way of genuine depth, complexity or nuance here, Diaz instead seeks to convey the illusion of profundity by having various characters throw around weighty social and philosophical verbiage in thuddingly sophomoric fashion.

Glossier and more lavishly produced than most faith-based films, the film directed by Steve Race is ultimately undone by a relentless preachiness that gives it the feel of a two-hour sermon.

Our Day Will Come speeds along for a while on the fumes of its own audacity until it can no longer hide the lack of coherent ideas in the tank.

A highly homogenized and sanitized remake that's little better than its 1981 predecessor.

The film manages to generate only mild shocks and surprises.

Its hopelessly stodgy execution will test the patience of even the most enthusiastic audiences for faith-based films.

While the portrait of domestic malaise is occasionally intriguing (and owes much to the original comics), things wind up all-too easily working themselves out in the long run.

The wholly amateurish doc offers much that has been explored more effectively elsewhere; though it makes a few fresh points as it gets into its second half.

Despite the effective performances by its young lead performers, California Scheming mainly comes across as half-baked.