Dragged Across Concrete is not a terrible movie, but it’s not so good that Zahler shouldn’t get dragged for it.

There hasn’t been a pre-planned 'Part Two' this disappointing since the second half of Andy Muschietti’s 'It.' At least nobody projectile vomits on Jeff Goldblum to the tune of Juice Newton’s 'Angel of the Morning.' Then again, that would have been more memorable.

The Expendables 3 is silly and overblown, yes, and it could definitely do without Antonio Banderas‘ motor-mouth routine (not to mention an out-of-nowhere reference to Benghazi), but it's less silly and overblown than “The Expendables 2,” for whatever that's worth.

For every moment where it seems like it’s getting somewhere more thoughtful, it will dance away into something else, lacking focus even as it remains faithful to the rather short source material.

It’s always extra frustrating when a biopic falls short, especially if its subject is as compelling as the relationship between two brilliant iconoclasts like Virginia Woolf and Vita Sackville-West.

Same Kind of Different as Me works more effectively when its talented cast is given freedom to engage on an interpersonal level and its various political subtexts are sidelined.

Sunsets, cellphone-lit melancholic music shows, and clichéd references to stars and constellations abound.

Well-intentioned but at times insensitive, Papi Chulo is a complicated movie. It wants so badly to do the right thing when the situation is all wrong.

Most impressively, the film admits that the line between faith and magical thinking isn’t as solid as most believers would care to admit — and the Church knows it. Unfortunately, these worthwhile ideas are contained in a phony-baloney tale more artificial than a polyester teddy bear stuffed with Splenda and Cheez Whiz — and just as appealing.

More a forced, one-note farce than the sharp satire it’s trying to be, Atropia is almost impressive in how it manages to allude to so many complicated subjects surrounding U.S. militarism without authentically skewering or even poking at any of them.

These characters and their dilemmas could be the stuff of great, or at least good, drama, but Slattery's insistence on accentuating their sorrows with clinically depressed art direction wears thin rather quickly.

It’s hard not to feel a bit scammed, like you just bought a brand-new AAA game and found out most of its content is still locked behind an additional paywall.

Like a Boss is vibrant and sometimes funny, but rarely heartfelt and entirely stale. While it hits a few sentimental notes, the film’s failure to delve into the friendship it celebrates, or to say anything significant about women’s relationships in business, ultimately hampers it.

Which version of the film each viewer sees will be a subjective choice, of course, but the fact that the lead character is so utterly guileless and innocent and kindhearted...makes Katie less a victim of the world and more a victim of first time writer-director Wayne Roberts.

Hot to Trot brings up some intriguing differences between straight and gay ballroom dancing without ever quite exploring them in depth.

The premise of Truth or Dare is needlessly convoluted, and it is overloaded with information and side characters.

Nanjiani and Rae are funny and likable people who try very hard to bring some life to this enterprise, but the action is too preposterous for the laughs to make much headway. They’re fun to watch, in a way, but you really wish they had something better to do.

The target demographic for Lorne is SNL fans who won’t benefit from a documentary like Lorne.

Because Graham fills This One’s for the Ladies with so many different dialogues that don’t always connect, he prevents it from offering concise, sociopolitical insight about race, class, and sexuality. As a result, the film comes off as pedestrian and ultimately has nothing really essential to say.

The story, the jokes, even Hank’s imaginary pill-shaped friends, and an expensive trip to the curador/local shaman are cheap tricks for a hollow laugh. Better to savor the few carefree moments of Camil’s stellar performance and the poignant lessons to learn about love, health and communication.

While there’s a lot of commendable chutzpah and curious longing baked into The Green Knight, the movie’s never as compelling as it is unusual.

The most serious problem in The Sky Is Everywhere is that Nelson’s screenplay has Lennie getting upset with people and generally freaking out in almost every scene, and this becomes irritating and monotonous because she is the central figure in the movie.

The beats are too predictable — and even though the film tells a story we may not have known until now, the storytelling is too familiar.

When the Bough Breaks is a very conservative film that ducks any issues that might be dramatically interesting in order to work up lame suspense sequences.

Allied is ultimately a thin love story, with creaky suspense machinery and star turns from Pitt and Cotillard that feel more like matinee idol dress-up than a meeting of the magnetic.

There is only one inventive action sequence here.

The consistently disjointed ensemble dramedy She Came to Me never settles on a sensible tone to match its anxious, but well-meaning characters, most of whom are neither so ridiculous nor so tragic to be either laugh aloud funny or convincingly dramatic.

For all it throws at you, it’s neither consistently funny nor scary enough to leave a mark.