Jean-Claude Van Damme has now fully transitioned into being a parodic shell of his former cartoon-badass self.
Cowboys & Aliens mashes up genres with a staunch dedication to getting everything wrong.
Of all the things to loathe about the game, there is perhaps nothing greater than your two AI teammates.
The film gives sturdy big-screen treatment to Marvel’s square-jawed—and square—jingoistic military man.
Oh, lying, what a mess you make of things!
Let Salvation Boulevard preach the anti-organized-religion gospel!
On the frat-comedy tolerance scale, Horrible Bosses just about breaks even.
This is a work of misty-moored hack-and-slash mayhem whose technical derivativeness is less troublesome than its narrative simplicity.
Mistaken-identity shenanigans and gooey romance are Monte Carlo’s prime commodities.
Wilmer Valderrama and George Takei’s reaction shots are the only feeble sources of humor in this dramedy.
If you title your franchise F.E.A.R., a few frights should be guaranteed.
Love is both a many-splendored and painful thing according to Love Etc.
The film anthropomorphizes its shelled protagonist in a manner so melodramatic as to make one cringe.
Despite aping its title in order to suggest quality by association, Bad Teacher has nothing in common with Bad Santa.
Refining an excellent template isn’t simple or easy, which is what makes Infamous 2’s success all the more thrilling.
The film makes one wish that O’Brien’s woe-is-me harping about his faux-tragic The Tonight Show fate would finally stop.
If not for its lack of self-awareness, The Art of Getting By would seem to be a spoof of ennui-inflicted teen dramas.
The game’s superiority to its precursor is easy to discern, at least in terms of its next-gen graphics.
A home-invasion thriller with nothing on its mind except generating horror from its blunt, thematically barren portrait of nasty people doing bad things to innocents.
J.J. Abrams imitates to flatter with Super 8, an homage to the seminal science fiction films of Steven Spielberg.