Take a ride on Disillusionment Express straight to Keepin’ It Real Town, New Jersey.
The Hitman’s Wife’s Bodyguard improves on its 2017 predecessor only insofar as it runs 20 minutes shorter.
The film seems to have cobbled its set pieces together from a series of close-ups edited as if by random selection.
The Nutcracker and the Four Realms is the latest in a long line of fantastical, unwieldy takes on classic fairy tales.
Clint Eastwood’s Unforgiven brought the revisionist revenge film into the 1990s and, by extension, the 21st century.
No one in Zach Braff’s Going in Style seems to really know what the hell they’re doing or why.
Ben-Hur director Timur Bekmambetov offers nothing new to the cinematic lexicon of the chariot race.
The sheer amount of people and incident indifferently presented throughout suggests only an obligation to quota-filling.
Like its predecessor, Babak Najafi’s London Has Fallen is content to dumbly relish in the inanity of Mike’s rampage.
The film is a redundant showcase for Seth MacFarlane’s racy, dick-centric sense of humor.
Ira Sachs wouldn’t have countenanced the stacked-deck sentimentality that lies at this film’s heart.
A macho celebration of fighting for “freedom” because someone else told you to, devoid of any acknowledgement of the irony of that ideology.
Writer-director Charles Martin Smith’s tin ear for dialogue and contrived symbolism is as unmistakable as his enormous heart.
Besson commits wholeheartedly to his decades-long preoccupation with waifish young women discovering their inner Shiva.
This manic, loving parody of toy bricks and the pop culture associated with them receives a fittingly overstuffed disc from Warner Home Video.
If you programmed an algorithm to figure out how Lawnmower Man might be retold by Snake Plissken at the end of Escape from L.A., you’d still wind up with something more human.
A lopsided, put-upon narrative of survival where humans, and not the animals themselves, are the ones to be celebrated.
Appreciation of the film lies, perhaps aptly, in the pieces built on a pillaged foundation.
The film is depressing, sub-sitcom fodder that will dull whatever affection you may still harbor for these legendary actors.
There’s nothing behind all this sturm und drang but a lineup of insubstantial ciphers.