Contributor: Paul Asay

With a song in their hearts and a curse on their lips, Bernie Mac and Samuel L. Jackson struggle to reunite The Real Deal. The result is A Real Mess.

It’s a movie that centers on violence and swirls with obscenities. It’s also a powerful movie. It’s a movie with an important story to tell.

Surely a sequel will let this franchise begin to live up to its title. Right. More like life lessons as told in belches.

Can a couple of journalists on a whim find one of the world’s most wanted war criminals in two days? Sure they can!

“It’s like spring break for adults,” we’re told in The Way, Way Back. But what does that make it for the kids? A prison sentence? A water slide down into despair?

A panda’s work is never done. Just three years ago, Po saved all of China. Now he’s gotta do it again—this time from a peacock with some serious firepower.

He wears the mask. He rides the horse. But there’s something about this Lone Ranger that’s not quite right.

Mike Myers is back as a self-help author intent upon enlightening his audience—one crude joke at a time.

This political rendering, headlined by Reese Witherspoon and Jake Gyllenhaal, leads audiences into a dank, dark dungeon of pain—and never really lets them out.

You know what they say: “If you can’t stand the heat, get out of the kitchen.” We’re all the way in the basement by now.

They’ve clashed. Now they’re full of wrath. Turns out you can’t keep good—or bad—Titans down … especially when they raked in half a billion dollars the first time a round.

She’s baaack. And while she has a new family to help and a new duty to perform, Madea’s still the same brash, foul-mouthed, slightly crazy woman she’s always been.

Can a violent MMA movie hold Christian values dear without strangling them in the cage?

We hear a lot about catharsis these days, be it the virtual mayhem of video games or primal scream therapy sessions. Getting it out of your system is a good thing, we’re told. But what if catharsis became a legitimate—legal—excuse to kill?

Joss Whedon’s rendering of Shakespeare’s classic comedy is both silly and sensual—just like the 1599 original.