Calvin Wilson

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.

Saint Laurent was a truly mythic figure. It’s a shame that Bonello’s film doesn’t do him justice.

An inconsequential mess.

Inspired by a true story, Gold is a major disappointment — a film of admirable ambition but woefully underwhelming execution.

As a melodrama, Brothers is passable entertainment. But the film squanders the opportunity to meaningfully portray the impact of war on American lives.

Episodically structured and lethargically paced, the new film attempts to convince us that there's something incredibly charming about an old guy who makes a habit of ogling young women. Actually, the whole scenario is pretty creepy.

It’s downright depressing to see Oscar winners Hunt and Hurt struggling to make something meaningful out of their superficially written characters.

Laggies is the kind of indie film that gives the genre a bad name.

There’s a sharp comedy to be made about America’s misadventures in Afghanistan. This isn’t it.

Admission is one film you may not want to get into.

Skyscraper clearly aspires to be a 21st-century update of “Die Hard” (1988), one of the best action thrillers ever made. Instead, it’s just another film that squanders the movie-star charisma of Johnson, who should consider lending his box-office clout to more worthy projects.

Don’t get burned by Inferno.

In a small role as a self-absorbed film producer, Mark Wahlberg is touchingly effective.

Third Person doesn’t lack for ambition, and it’s nice to see Neeson in the kind of role that he excelled at before he morphed into an action star.

It doesn’t help that Weisz and Claflin have zero chemistry, and both come across as miscast. She lacks the aura of mystery that her character requires, and he’s woefully low on the charisma required of a romantic hero.

Based on true events, 7 Days in Entebbe pulls off the difficult trick of making terrorism boring.

Strives to be entertaining, but for much of its run time it is so emotionally uninvolving that even the smallest children might find themselves bored.