Calvin Wilson

The franchise has sadly devolved into a cynical cash grab.

This is a generic, uninspired and mind-bogglingly boring comic-book movie that’s out to steal your money and time.

Nocturnal Animals is far less imaginative than even your most banal nightmare.

Struggles heroically, but unsuccessfully, to strike a balance between whimsy and pathos.

If being seated at Table 19 is a drag, watching the film of the same name is worse.

McAvoy and Fassbender appealingly reprise their frenemy chemistry. But Lawrence has little to do but look perplexed.

A documentary that clearly aspires to the highest standards of cinematic muckraking but makes for a frustrating experience.

Keeping Up With the Joneses is hardly worth the effort.

After watching Post Grad, you may wonder whether Hollywood will ever stop making generic comedies with zero tolerance for originality.

Offbeat and unpredictable, Demolition takes a wrecking ball to audience expectations.

This halftime walk is more like a long slog.

Working from a screenplay that he co-wrote with McCarthy, director Ben Falcone (who happens to be her husband) keeps things moving but without much of a spark.

Only when there’s an opportunity to blow things up does Fuqua seem fully engaged. Another Western bites the dust.

Although it has a great look and offers a few thrills, the animated film 9 is one of this year's biggest disappointments.

Manages to waste the talents of its strong supporting cast, which includes Thomas Haden Church, Patricia Clarkson, Lisa Kudrow, Malcolm McDowell and Stanley Tucci.

In Hollywood, it’s all about the concept, and some studio executive must have thought it would be fun to watch Adams slogging around in the Irish mud. Unfortunately, there’s no accounting for taste.

In a way, Stonewall is proof that the gay community has fully made the transition to the mainstream. It’s now subject to the kind of Hollywood nonsense that was previously reserved for heterosexuals.

One Day fails to make us care about the young couple at its center.

A would-be light thriller that's so deficient in the genre's essentials - such as witty dialogue, intriguing characters and surprising yet credible plot turns - that you're embarrassed for everyone involved.

If you’re interested in Williams and his music, this film is better than nothing — but not by much.

A Bigger Splash? More like a small trickle.

The comedy is so lame that the whole enterprise comes across as depressing.

It doesn’t help that the characters caught up in this fact-based melodrama aren’t particularly engaging. Or that Téchiné doesn’t seem to have much of a feel for the material.

It’s hard to understand what went wrong — the cast couldn’t be more appealing, and the film is bursting with special effects. But as an emotionally satisfying experience, it’s a bust.

This is the kind of film that makes moviegoers long for good, old-fashioned storytelling.

Would have benefited from the kind of objectivity that Bass -- as Sar's well-heeled sponsor -- was hardly in a position to deliver.

Genius, like most films about the literary life, has trouble dramatizing what’s involved and making us care.

On its own terms and against all odds, "Outrage" is adequately entertaining, with more than enough cringe-inducing violence and cruel humor to please the average American moviegoer. But true Kitano fans will find its title sadly ironic.