Rampant is a little all over the map, with its biggest flaw securely rooted in its inability to maintain consistency in its mythology — an unforgivable genre crime.

A cookie-cutter thriller that takes its time getting to the (sorta) good stuff, it's for die-hards only.

DriverX, which has the style but not the substance of a strong '70s indie drama, stalls out quickly and goes nowhere interesting.

Director Anne Fletcher has made better rom-coms, like The Proposal, but they had better scripts. Written by producer Kristin Hahn, Dumplin’ clings timidly to its YA roots, which are firmly on the unsophisticated side of the spectrum.

Veering heavily into sexual territory, the film is more a gothic melodrama than a horror film. It certainly feels like a waste of not only Cage's talent (although the actor has a climactic, literally fiery scene that will forever change the way you think about the pop song "Leader of the Pack"), but also Potente, whose potential has been sadly underrealized in American films.

As talented as Yara Shahidi and Charles Melton are individually, they don’t have much chemistry.

The cast, though, is full of extraordinary actors, who do what they can to redeem a lame script and style.

Most problematically, the film is simply atrocious on a technical level, featuring subpar cinematography (a generous term, in this case) and muddy sound that wouldn't pass muster on anything larger than a cellphone screen. If you 're going to put all of those magnificent bodies on display, we should at least be able to see them clearly.

While its quirky storytelling style draws viewers in, many will tire of the subplots long before it reaches the two-hour mark.

While some thriller addicts may embrace the resulting misanthropic action, others may find their minds wandering — to the many real-life cases of fraternity hazing, gang-rape and run-of-the-mill antisocial behavior that inspire deeper feelings of dread than this unconvincing outing.

Simmering and subdued, this '90s-set teen drama with supernatural elements features an intriguing premise but doesn't quite seem to know what to do with it. Such restraint is admirable in a genre not known for it, but it results in the film feeling more tepid than it should have been.

Well intentioned in the extreme, Sgt. Will Gardner is more effective as PSA than drama.

There's plenty of material here for a reasonably engrossing drama. Somehow, screenwriters Craig R. Welch and Greg Gerani fail to come up with anything remotely interesting.

Writer David Hare and director Ralph Fiennes have a good feel for the artistic world the story inhabits and professional dancer Oleg Ivenko does a more than creditable job in personifying one of the 20th century’s most celebrated artistic figures, but the narrative bounces all over the place trying to cover too much ground when concentrating on the core drama would have far better served the desired end.

I feel confident that even if I were to be magically transformed into the target demographic, I would still find After to be a cliched, mediocre affair. Come back, "Twilight," all is forgiven.

Even in this fictional context, the line between portraying and exploiting abused innocence gets uncomfortably, offensively blurred.

The problem is that despite his considerable skills, Sputore is so caught up with the cool technology he loses his grip on both the suspense and the primal human emotions that should be driving this physically imposing but numbingly cold dystopian vehicle.

Stem to stern, this 88-minute slasher runs like the clockwork bit of machinery it is, and that baseline competence effectively leeches it of personality.

Neither a no-nonsense delight like "She Loves You" nor the White Album-style head trip its premise might suggest, it's more of a "Yellow Submarine" sort of film: crowd-pleasing and sometimes enjoyable, but pretty damned dumb when you stop to think about it.

Less a sequel than a remake featuring a younger actor going through the same narrative paces as Murphy in the original, Coming 2 America includes so many nods to its predecessor that it feels like a feature-length Easter Egg in search of a movie.

Juanita wants to be so many things: road movie, rom-com, a middle-aged woman’s coming-of-age tale, a verite window into Native American life in the West, a chef’s kitchen drama. But a script that needed a couple more drafts holds the film and its talented ensemble cast back.

A few flashes of amused chemistry between the two actors represent all the human interest in this unimaginative sci-fi actioner, but that doesn't mean the pic's relentless focus on giant-monster battles won't please the director's fans.

It quickly spins its shaky premise off into an unconvincing study of emotional need and an even harder-to-believe revenge thriller.

Sadly for a story so fraught with desire and violence, Elisa & Marcela is painfully lacking in frisson and danger. Despite competent performances from her two young stars, Coixet fails to inject the girls’ relationship with complexity, tension and conflict. In the end, they are ciphers in a message-driven movie, which is made worse by contrived one-liners and gestures.

There's no mistaking the earnest anger which motivates her assault on the sexist "dark ages" values still to be found in many Macedonian provincial areas, but expressing it in such clunky terms does no service to the cause.

Promising but inert genre pic.

If Shaft were indeed a hard-hitting, fast-paced, action-packed detective thriller, as it was meant to be, then it would be an acceptable entertainment. But it isn't.

Despite the film's choppy and tonally dissonant storytelling ... Hawke’s performance quite literally carries the movie.