The film’s uneasy mixture of melodramatic and supernatural elements quickly devolves into a frequently risible genre mashup.

The problem with The Pyramid is that it doesn't have a single new idea in its arsenal. All the shocks are cribbed from the likes of Alien, The Descent and a ghostly host of other horror films, but they're not even very effectively done here.

Offering a silly conceit that requires either finesse on screen or a cast whose magnetism overrides disbelief, Mind has neither.

Best viewed as a glossy advertisement for the venerable military academy that is its focus, Field of Lost Shoes doesn’t exactly score points for objectivity.

The film just looks a mess, apart from some of the rather pretty shots of banana slugs and redwoods. It doesn’t help that the characters, even accounting for how little developed they are, come across as entitled, self-absorbed brats, and that the very title is, on a first viewing, a complete enigma. At least it’s only 72 minutes long.

Featuring endless scenes of multitudes of women baring their breasts in public in various areas of New York City, Free the Nipple is an unfortunately tone-deaf and poorly executed drama that doesn't exactly help its cause championed by the celebrity likes of Miley Cyrus and Lena Dunham.

Neither the dramatic nor action elements are remotely compelling, with the nearly two-hour running time feeling interminable.

This is not to say that there isn't plenty of obvious truth and common sense in many of the film's assertions. But then again, even a stopped clock is right twice a day.

It's all very familiar in that Blair Witch kind of way, with neither the characters nor situations proving remotely interesting.

Tedious, visually unsatisfying, poorly acted and narratively disjointed, Area 51 is a textbook example of directorial sophomore slump.

Featuring endless scenes that defy credibility..Any Day truly succumbs to mawkishness in its final act.

At no point along the way does the film provide a reason to invest your interest in any of this.

Bad movies are bad. Bad theater is worse. But bad movies resembling bad theater are perhaps worst of all.

The action is nearly relentless, only occasionally interrupted by humorless, tedious exposition, but despite the freneticism it’s almost all completely boring.

Step Up All In and Into the Storm writer John Swetnam’s debut is just as derivative as his earlier films, but also demonstrates that his dearth of imagination extends to directing as well.

Schilling the director proves even less adept than Schilling the screenwriter, bathing the melodramatic proceedings in an overbearing musical score more appropriate for a daytime soap.

So comprehensively does the film fail to represent the labyrinthian literary wonders of Amis’ book that it scarcely seems worthwhile to detail its universal shortcomings.

The Choice is the cinematic equivalent of staring at a Hallmark Card for two hours.

The funniest bit involves a particularly sadistic brand of torture that he inflicts on Hannah.... She quite rightly screams in protest, as should anyone forced to watch this movie.

Exploiting the serious issue of homelessness for the purpose of cheap romantic melodrama, Other People's Children squanders whatever potential it might have had.

Colonia marks a truly misguided attempt to fabricate a Hollywood-style thriller out of the darkest quarters of Latin American history.

From the very first scene, the rhythm is off, the staging and editing graceless, and the dialogue (the screenplay is by Kyle Pennekamp and Scott Turpel) alternates between trying too hard and not hard enough.

Amid the rarely very creepy buildup to the Amityville-ish showdown to come, the screenplay piles on more unrelated domestic drama than the picture can take.

A trainwreck of a sci-fi flick bent on extending a franchise that should have died a peaceful death almost exactly one decade ago.

Although there's a long cinematic tradition of mixing comedy with scares to excellent effect — Abbott and Costello Meet Frankenstein being a prime example — this lackluster effort manages to be neither funny nor scary.

Shallow is a mild word for it. Others would be silly, miscalculated, unconvincing, artless, pandering, hokey, ridiculous. Or just plain awful.

A lazily written and generically directed Fatal Attraction knockoff.

A textbook example of how not to turn real-life headlines into big-screen drama, Jeppe Ronde's Bridgend is a toxic combination of the laughable and the reprehensible.