The film is a pointlessly complicated house of cards that crumbles due to its own hollowness.
Fresh is pitched as a kind of genre corrective, except its tone-deaf cheekiness only results in a feeling of dreary regression.
The film’s largely painful humor is informed by the mistaken belief that the main characters’ criminal enterprise is inherently quirky.
The endless set pieces grow wearisome in their reliance on prior choreography, though on occasion something impresses.
Shana Feste’s film seems blissfully unaware that great fights require truly substantial conflicts.
Cavemen is an apt title considering how the sensibility and maturity of the film’s characters don’t seem to have developed beyond primal, alpha-man impulses.