The whole enterprise seems like an advertisement for the breed, the ownership of which will apparently improve your life immeasurably while making a holy mess of it.

An Affair to Die For is an erotic thriller with pretensions to the sort of clever whodunnit theatrics of Agatha Christie. But "Murder on the Orient Express" seems like child's play compared to this film's screenplay by Elliot San that is too clever by half.

There’s no denying that The Tomorrow Man has a knockout ending. But is it worth sitting through the mundane, relatively uneventful film that precedes it? Few will think so.

This misadventure of a project is a blip on the actresses’ résumés.

This Bannon is a snooze, occasionally making a wry aside but nearly never saying anything unusually smart or new. ... It's hard to see what ordinary viewers at any point on the political spectrum will gain from this particular status report.

Veteran comic actors make the most of the not very original (though well-timed) one-liners the script gives them. But the movie's last act drags almost as slowly for viewers as for the gang in the cave, and the story's resolution is no better.

The latest example of the unfortunately fertile trend is a comedy from Josh Huber that features every stereotypical plot element and predictable gag imaginable. Making Babies demonstrates the need for creative contraception.

On some level, Fritz’s story is compulsive viewing, only you wish you weren’t there.

As a supposed snapshot of life in the unaccommodating big city, and of the humane gestures that can soften that harshness, it feels utterly synthetic, not to mention a romantically "European" view of New York that's sheer nonsense.

Poms is equal parts boring and infuriating, especially when you consider the actresses made to perform caricatures of old age.

The animation, consisting of both traditional 2D and CGI, is impressive, and there’s certainly a lot of it. But it never feels as joyful as you’d hope, too often coming across like corporate machination than inspired imagination.

The didactic screenplay sinks the film. Instead of exploring characters, or having them spout witty lines, Ting has them explain everything to each other, out loud, almost all the time. ... It’s great to see more films with Asian and Asian-American actors and stories, especially one written and directed by a woman. But while Ting’s movie may be heartfelt, it offers viewers more fluff than heart.

Eden Marryshow (Jessica Jones) makes an arduous attempt in his feature directorial debut, in which he plays the title role of an unemployed actor who gets by thanks to the good graces of family and friends. But his character ultimately proves far more grating than endearing, making Bruce!!! a slog to endure.

Unfortunately, their strenuous efforts (and Esposito tries very, very hard) aren't enough to lift the material above abject hokeyness. This is a film that makes subway riding seem such a miserable experience, you suspect it's been bankrolled by Uber.

Chauncey Page (Jason Woods) is no Michael Myers, and this Homecoming killing spree is far from "Halloween" in almost every respect. Notable only for a cast consisting solely of people of color (and for the involvement of RZA), the pic fails to deliver what its title promises.

Unfortunately, for all the debuting filmmaker's talent for creepy atmospherics, I Trapped the Devil feels draggy and attenuated even with its brief 82-minute running time including credits. Despite some good performances, the film goes nowhere, and very, very slowly.

Quickly paced and based on a novel, and creepy, idea, the film fritters away its potential by delivering only a modicum of horror and compounding that disappointment with some creaky performances.

A tale as generic, and as dull, as its title.

Clara forgets to have anything resembling a compelling plot. Or an original one. Even science geeks will find little here compelling.

Graham begins Run with a solid premise, but he lacks the dramatic horsepower to move the story out of second gear.

Standup star Jim Gaffigan, who mines domesticity for laughs so successfully onstage, would seem an ideal choice for a man with twice the responsibilities and one big secret to hide. But Bailey and Lakin give him next to nothing to work with, and the result flops where it should crackle.

This is the pure case of a filmmaker doing whatever the hell (sorry, Joan) they want and leaving us to contend with the results. Enthusiasts of the prolific Dumont ... will surely get something out of this latest effort — as perhaps will Joan of Arc movie adaptation completists. But beyond that niche, many will find watching the 137-minute movie akin to being burnt at the stake.

It's as if a bunch of horny grad students decided to loot a costume store and then remake Salò, or the 120 Days of Sodom with camera phones, but less fun.

Unfortunately, the themes don't resonate in sufficiently powerful fashion to compensate for the film's sluggish pacing and strained melodramatics.

The thrill is long gone in Anna, a lifeless and instantly forgettable spy flick whose lead, Sasha Luss, shows zero promise as a movie star.

Well-shot (by Luc Besson regular Thierry Arbogast) but otherwise entirely forgettable.

Back to the Fatherland is too shallow to do justice to its psychological quest.

It's never remotely involving, and you can feel the lead performers straining to handle their acting chores. The exception is Haddish, who is so convincingly scary and menacing here that you wish her character were in a better, dramatic movie.