3 GENERATIONS (Gaby Dellal)

Harvey Weinstein’s Gaby Dellal’s 3 Generations is a prime example of how excessive studio meddling (in this case, by the notorious Weinstein Company) motivated by an undue obsession with box office and/or Oscar positioning often results in abominably-incomprehensible editing (there are two editors here! TWO! 2! For a 90-minute character dramedy!), sapping what could’ve been a perfectly fine, effectively-intimate human story of its natural humanity, thereby becoming more reminiscent of an ineffectively-transparent corporate product.

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THE PROMISE (Terry George)

I was initially going to call back to a repeated formulation of mine by describing Terry George’s The Promise as “Masterpiece Theatre (Terry’s specialty!), Armenian-Genocide-with-a-ginormous-budget edition,” but honestly, likening this schlock to a quasi-hallowed institution feels unfair to the latter.

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TICKLING GIANTS (Sara Taksler)

Bassem Youssef, the focus of Sara Taksler’s Tickling Giants, is an essential figure to know nowadays (talk about taking real artistic risks), and he kind of makes the documentary a must-see…but it would’ve been more compelling with some semblance of objectivity; not a single competing perspective is presented.

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THE VOID (Jeremy Gillespie, Steven Kostanski)

The craziest creature design this side of Guillermo del Toro can be found in Jeremy Gillespie and Steven Kostanski’s The Void, but it fails to overcome the worst attributes of the horror genre that pervade the rest: on-the-nose dialogue, cardboard-cutout characters, canned overacting, a bafflingly overcomplicated plot that’s incoherently told, beaten-to-death aesthetics, an overwhelming feeling of apathy regarding what’s going to happen and who it’s going to happen to, and heavily-borrowed mythology.

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