The lurid and unconvincing Shut In should have lived up to its title.

Playing like a white-trash Greek tragedy, Dawn Patrol squanders the good will that budding screen heartthrob Scott Eastwood earned for his recent starring turn in "The Longest Ride."

Loosely inspired by real events, the plot is time-scrambled and non-linear, hinting at Quentin Tarantino levels of post-modern playfulness that sadly never materialize.

Leonard and Foley offer enough semi-naked sex scenes here to prove that quantity is no substitute for chemistry.

Lacking the stylistic flair provided by del Toro in the original, this sequel directed by Steven S. DeKnight (TV's Daredevil and Spartacus) becomes increasingly tiresome in its cliched plotting and characterizations, hackneyed dialogue and numbingly repetitive, visually incoherent action sequences.

Absolutely Anything is a flabby misfire full of labored slapstick, broad caricatures and groaningly absurd plot twists.

Sometimes, deadpan observation of the mundane isn't Jarmuschian. Sometimes it's just dull.

A run-of-the-mill crime drama that toes the risibility line on several occasions, even if it’s better made than your typical straight-to-video movie.

Gus Van Sant’s sticky, gooey side — previously on display in the likes of Finding Forrester and especially in the 2011 Restless — oozes out once more in the woefully sentimental and maudlin The Sea of Trees.

For all its manic energy, there aren't enough recreational drugs in the world to make Yakuza Apocalypse anything but a bloody silly bore.

The dark fantasy manages to be grindingly dull despite its many quirks.

Its rhythms are sluggish, its jokes predictable and the gags are set up with such thudding deliberateness that even the sight of Ferrell losing control of a motorcycle, careening through the air and crashing straight through his house barely raises an eyebrow.

Whatever charms the first two movies possessed (and they were considerable thanks to the talented and appealing cast) have been thoroughly lost in this soulless installment.

Faith of Our Fathers is undone by its wobbly tone, hokey script and amateurish execution.

Art fans might reasonably expect one of the world's most successful painters to display a distinctive or at least appealing visual sense here, but they will be disappointed by Yasutaka Nagano's pedestrian photography; the film fares even worse in terms of storytelling and pacing.

From laughs to smarts to a credible interest in rehabilitation, lovers of love would do better to go see "Trainwreck" again.

It's certainly a moving tale.... Unfortunately, the film tells the story in the most prosaic fashion imaginable, missing nary a single faith-based film cliché with its one-dimensional noble characters, banal dialogue and requisite sermonizing.

Fouad Mikati's tawdry psychological thriller features the talented actress in a film that bears no small resemblance in theme, if not quality, to the hit movie version of Gillian Flynn's best-seller.

Small-screen comic talent is all over Fresno, with key players from series including Parks & Rec, Arrested Development and Portlandia teaming up for a tale of two sisters stuck with a hard-to-dispose-of dead body. The feature, sadly, exhibits none of the smarts or agility that fuel those series.

If you’re going to make an ultra-naturalistic, two-character, walking-and-talking romance that tips its hat to Before Sunrise, the film that began Richard Linklater’s exquisite trilogy, then it’s best to avoid a script loaded with contrived situations and overwritten dialogue.

Co-scripted by a slumming Bret Easton Ellis, The Curse of Downers Grove is all over the place in tone, never managing to decide what kind of film it wants to be.

There's neither topicality nor bite in this bland pseudo-thriller, which lathers on composer H. Scott Salinas' high-suspense score like shower gel after sweaty sex, yet rarely musters an ounce of genuine tension.

Boredom has long since settled in by the time gunplay is involved.

Rather than engage in slow-build horror, Pascal Trottier's screenplay flips the switch into Poultergeisty chaos.

It lacks the wit and charm necessary to interest any but the most undemanding preteen viewers.

A Christmas comedy of numbing tedium and tackiness.

Whatever you have to pay, it's too much.

There's little sense of personal investment from the director, but Egoyan does what he can to keep the story moving forward, without getting bogged down in its implausibilities, which are too many to count.