This fishy tale is essentially Jaws on CGI steroids.
Slender Man is just a bad movie, and bad in every possible way.
A one-dimensional setup with one-dimensional relationships, one-dimensional heroes and a lot of dead kids.
This breakneck cinematic blender is set to “liquefy,” the top is off, and you’re the main ingredient.
The moral potholes in this sequel once again present this musical’s most off-key moments.
Skyscraper is a CGI-infused hodgepodge of derivative bits culled from more memorable disaster thrillers.
The one real, uh, wasp in the ointment in Disney/Marvel’s latest effort is this pic’s rough language quotient.
Is Uncle Drew’s water bottle half full or half empty? I think the best answer is yes.
It’s easy to wonder if this long-toothed, munch-a-man moviemaking template has been dug up too many times.
Ocean’s Eight gathers the usual shady content suspects—such as foul lingo, illicit larceny, boozy tippling and light sensuality.
Adrift is one of those films that sails through some pretty major cinematic crosswinds.
What could have been a tender story about the struggles of four aging friends is ultimately crippled by its “naughty” …
Breaking In is one of the most frenetic, violent salutes to a mother’s love that you’ll likely ever see.
Life of the Party is a sweet, smile-worthy pic … about 70% of the time. The rest, though, can feel …
