Contributor: Paul Asay

Let’s not lose sight of what Murder on the Orient Express does offer—a content-light mystery that feels true to the more genteel time it was written.

This film is like a cake made entirely of food coloring. It’s bad, plain and simple.

Adam, Solo and Will are more than just statistics. Through story, we see their faces. Feel, in some small way, their pain.

Boo 2 leaves me feeling just like I do after eating too much Halloween candy: a little sick.

The Foreigner is a dark, grim actioner, filled with blood and bad words a-plenty. Rush Hour? Try crushed and dour.

Marshall inspires. But it disappoints, too.

Both Blade Runner films lead us into an unseemly, seedy milieu in which humanity’s worst impulses have been augmented and magnified by technology.

The Stray is a personal story professionally told, a Christian film that incorporates faith without pulling out a Bible and thwacking viewers with it.

Friend Request is a dumb, salacious slasher flick: But it’s a tragedy, too.

This film has a license to ill.

A bevy of children star in IT, but they’d be ill-advised to watch it.

9/11 is a lifeless, pointless exercise in mawkish exploitation.

Good Time is filled with sex, violence, drug use and language, making the movie’s title an obscenely ironic statement.

Now, I don’t have anything against a clever caper movie, and this one’s pretty clever. But we must remember the myth such films are built upon.

Even though it acknowledges the need for God to confront spiritual evil, its problems are still legion.