The four Star Trek: TNG films receive best-to-date video presentations.
The Gray Man is a noisy, flashy spectacle that piles clichés atop ludicrous plotting and sprinkles it all with half-funny quips.
Gina Prince-Bythewood’s intimate 2000 drama gets a snappy new transfer and a virtual cornucopia of fantastic extras.
Chinonye Chukwu’s film is a morality play with a true sense of contradiction and melancholia.
The series struggles to sensibly lay out the particulars of its post-apocalyptic feudalism.
This ostentatiously expensive remake is reliant on our memory of the original to accentuate every significant moment.
The trailer for the photorealistic remake of the 1994 film is hellbent on proving that you can indeed step in the same river twice.
Above all else, Marvel’s Luke Cage is about what, if any, qualifications there are for being a hero.
The film conveys an engagingly low-key atmosphere, pervasive with wayward souls haunted by poor choices.
It’s all a far cry from James Wan’s The Conjuring, which embraced the thrill of the paranormal even as it respected its frazzled, earthbound characters.
The film practically treats Solomon Norhtup as passive observer to a litany of horrors that exist primarily for our own education.
With run-of-the-mill storylines and likeable doctors, Three Rivers is neither adrenaline-pumping nor genre-busting.
The film is a workmanlike slab of agitprop against racially profiled drug sweeps and plea bargains that extort innocents into ruin.
Family That Preys is nothing if not an exquisite and effortlessly crowd-pleasing reflection of a morally plagued, money-worshipping society.
Even though it follows every cliché in the book, and then some, Take the Lead delivers on its promise and never feels pandering.
Let’s just say that Something New’s title doesn’t extend to the film’s race-conscious rom-com formula.
The show wishes to say something profound about suburbia with its outmoded view of womanhood.
Beauty Shop’s feisty female empowerment comedy feels about as fresh as a Jeri Curl.
This plot-holed clunker is a mushy ode to maternal devotion embellished with spaced-out sci-fi senselessness.
You know a film is in trouble when a studio has to dig all the way to the bottom of the barrel and use a quote by Earl Dittman.