Ultimately, the time-traveling conceit feels like a shameless ploy to further expand the franchise’s narrative universe.
At the center of Jamie Babbit’s film, festering like an open sore, is the stereotype of the psycho lesbian bitch.
The series loses some of its drive by its dreary fourth episode, when a labored love triangle mars the overall flow of the central arc
Nobody makes it out of the film looking good, but that’s clearly not the point.
Filmmaker Carter Smith is going places, something which can’t be said about the characters in The Ruins.