Brad Wheeler

It is a slow-moving, self-insistent and exhausting trip. The end can’t come soon enough.

The scriptwriters did Perry no favours. Lengthy swaths of dialogue are consumed by tedious exposition on vampire types and the ways they can be killed.

The photography is elegant, but nothing else is. With action that is standard and not at all tense, the melodrama is much higher than the reward.

The thin premise is just an excuse for an ultra-violent film. Worse, with the final scene, the suggestion is made that all the mayhem was the woman’s fault. Unhinged falls down in the worst ways possible.

Awkwardly constructed with laughable romantic suggestions, sword-based gore and a whimsical approach to chronological accuracy, the story involves the Indian uprising against the British East India Company.

For most of the feeble, unmoving 109 minutes of The Art of Racing in the Rain, a Kevin Costner-voiced golden retriever named Enzo longs for death. I felt the same way.

Anna relies on a time-shifting structure that is laughably exhausting.

Rock 'n’ roll biopics can be mindless fun, but they never deserve to be this empty-headed.

The film’s ruse is a snooze. The only thing jacked here is the hour and a half wasted watching this film.

Because it’s emotionally manipulative, unashamedly contrived and outrageously sentimental. Lead actor Oscar Isaac doesn’t care a damn about that, mind you, giving a memorably heart-wrenching performance anyway.

The makers of The Meg may have gone to school on Spielberg, but the big-budget deep-sea thriller is nothing but bloodless summer filler. Unsure if he wants to have some fun and jump the Sharknado or make a seriously gory fish fest, director Jon Turteltaub has surfaced with nets empty.

The deal with the new Hotel Transylvania animated comedy is that Count Dracula needs a vacation, but, really, it’s the creative team behind the franchise who could use the time off.

What doesn’t go in Skyscraper is watching Sawyer and his family face staggering calamity and danger with barely a concern raised or a sweat broken. As for the actors portraying them, they’re the brave ones. And if they were scared, they didn’t show it.

Unfortunately, because filmmaker Miele also places value in discretion, his snazzy documentary is celebrative – not investigative.

Sparks fly and so do private helicopters, but will true love prevail? Are you paying attention?

Gudegast, a first-time director who wrote the script to Den of Thieves (and who has probably watched Michael Mann's "Heat" more than once) attempts to comment on humanity's complexities. But all he does with his soulless, hollow characters is make a solid case that men are violent sleazes.

The comedy is limp; a sentimental, existential ending is cut-rate and unearned.

As entertainment, the film is pedantic and over-dramatic, with the string section working overtime on the soundtrack.

Although it’s a kick to see the rough conditions and the full-on roughhousing of old-world golf, the scenes on the links are repetitive. And while the ending takes a severe dogleg turn to soft-focus sentimentality and the soundtrack hounds us to take this thing seriously, the movie is easily resistible.

The resolution of that conflict is dishonestly implausible, thus ruining a perfectly mediocre movie. The worst of it is that Fred the one-eyed cat was probably winking at us the whole time.

This is a story of villainous oppression, unfortunately told with oppressive earnestness.

The problem is that somewhere around the middle of the film, one begins to realize it probably isn’t going any place worthwhile.

A stunningly unnecessary comedy, Fist Fight perpetuates unoriginal characters, a preposterous premise and a half-hearted stand-up-for-yourself message.

A shameless pastiche of Starman’s alien-on-Earth sci-fi, The Boy in the Plastic Bubble’s medical pathos and any number of young-lovers-on-the-run stories, The Space Between Us may set back the Earth-Mars relationship light years.

Naturally, Brooklyn is the setting for the type of old-fashioned brand of fairy-tale film this stinker aspires to be, but each time the inspirational Brooklyn Bridge is shown the desire to jump off it is doubled.

This quirky dramedy promises little and delivers even less.

Toddlers will dig the shenanigans, but bewildered adults should root for the annihilation of this tapped-out series.

Will she give up? Or will she fight? Ah, who cares. Sharknado isn’t Shakespeare and The Shallows isn’t deep. School’s out, schlock’s in – no lessons here.

A rip-off and a rerun.

A lazy Melissa McCarthy vehicle that relies on relentless potty-mouth moments.

The comedy is sophomoric and sort-of spoofy; satire happens here and there.

[An] occasionally cute romantic comedy.

The Choice’s best attractions are the talented Benjamin Walker and the watery, small-town North Carolina scenery.

Topical ideas on humanity, mistrust and alien-as-immigrant metaphors are a plus, but a laughable romance and a ridiculous wrap-up render the film as only a staging ground for the next two parts of the trilogy to come.

Hart’s irritating character desperately seeks approval, but his idiocy is too much. The comedian makes Jerry Lewis look like Benedict Cumberbum – and if you think that line is funny, Ride Along 2 is your kind of jam.

Lutz and fellow operative Carano are as warm and responsive as Ping-Pong paddles, batting lines back and forth lifelessly.

Although rich in cast, the bad-boy-chef dramedy Burnt is unremarkable otherwise.

The faith-based War Room is so named because life is a battle to be strategized, with, in the case of God’s infomercial of a film, a large bedroom closet serving as scripture-plastered command centre.

The chipper tale is admittedly interesting, though not “fascinating,” as self-advertised.

American Heist, I want my 94 minutes back.