Christy Lemire

Horns would seem like another gamble, and another opportunity to stretch. It’s a supernatural thriller, territory he’s familiar with, but taken to a raunchy, grotesque extreme.

Unsung Hero could have used more of such emotional honesty. But it ultimately must deliver a broad uplift that’s palatable for the whole family, so it tends to skim the surface.

It’s a hollow replica of its source material.

Back in Action isn’t as obnoxiously soulless as “Red Notice,” but it’s firmly within that subgenre of glossy, globetrotting action pictures you can stream while you fold your laundry. It all feels so cynical.

Perfectly serviceable and utterly forgettable, Honest Thief nonetheless offers a few pleasing details to keep it from being a total slog.

It’s about both fellatio jokes and falling in love all over again, but it’s so rushed and the characters are so underdeveloped that the film feels frustratingly slight.

The supposedly original script from writer Zach Dean offers very little that’s innovative or inspired.

It’s amusingly slick and mean for a while, but ultimately the film’s one-note nihilism grows numbing, and its stylish visuals and well-chosen soundtrack can only do so much to keep it lively.

There’s trash, and then there’s good trash. Unforgettable falls into the latter category. Slick, glossy and radiating juicy villainy, it knows exactly what kind of movie it is and goes for it with giddy abandon.

Just like the titular vehicle, the movie sputters along toward its intended (and entirely predictable) destination. Even having tremendous actors like Sutherland and Mirren in the front seat can’t enliven this vacation.

Even by the standards of this franchise—and this genre in general—Step Up All In is pretty laughable.

Director and co-writer Jessica M. Thompson establishes an unsettling mood that suggests we’re about to enter a dark and twisted world. But then eventually, her film is just dark – as in, it’s hard to see what’s happening, with herky-jerky visual effects that are especially off-putting. And when the twist comes as to what’s actually going on, it’s like: Really? That’s it?

While the 2009 book played this genre mash-up for dry, sly laughs, writer-director Burr Steers’ film amps up the thrills and gore. And that’s a problem—not necessarily as a narrative choice, but from a technical perspective.

Blake Lively gives it her all in The Rhythm Section, but the movie only meets her halfway.

It’s a mismatched-buddy comedy. It’s a fish-out-of-water comedy. It’s a raucous girl-power comedy.

Behold the craven exercise in hollow nostalgia that is Ghostbusters: Afterlife.

Bring tissues. Because whether you’re the faithful target audience for Miracles From Heaven, a non-believer or someone in the mass agnostic middle ground, you may find it hard to hold back the tears during various points in this real-life tale. And they’ll be earned.

The film is clearly sweet and well-intentioned, but Mexican director and co-writer Analeine Cal y Mayor has trouble transcending the confines of her meager budget, which leaves “Book of Love” looking and sounding distractingly chintzy.

It’s time for your annual Liam Neesoning: that cinematic tradition in which the seasoned star plays a grizzled character with a particular set of skills, which come in handy to dispatch bad guys and rescue good ones. But this year’s entry in the subgenre, The Marksman, is particularly mediocre.

The sad subtext of Made in Italy is more intriguing and poignant than what we see on screen.

But despite the familiar nature of the themes writer/director Neil Burger is exploring, his film still offers plenty of tension and his trademark visual panache.

Again, merely watching Brody engaging in such painstaking work is interesting; the generic bloodbath that ensues, less so.

For every delicate element there are many others that are heavy-handed or cringe-inducing, including some painfully on-the-nose musical selections. (Salt-N-Pepa’s perky “Push It” plays while Collins’ character, Rosie, is giving birth. Get it? Because she’s pushing!)

Producers Jason Blum and James Wan, both horror titans, once again show they know how to freak audiences out while maintaining a sly sense of humor.

Larger than its predecessor, last year’s “The Maze Runner,” in every way: in its cast, scope, set pieces and (unfortunately) length. But “more” also means more convoluted.

By indulging in the exact same instincts it insists are problematic artistically, Peter Rabbit 2 wants to have its carrot and eat it, too. But maybe that won’t bother you. Maybe you’ll be grateful for a return to the theater and the opportunity to do so with your kids. In that regard, the sequel hops along in sufficiently bouncy fashion.

While Antebellum is dazzling to the eyes, it also leaves an icky taste in your mouth in its leering, exploitative depiction of violent, slavery movie tropes.

While Where the Crawdads Sing is rich in atmosphere, it’s sorely lacking in actual substance or suspense.