Frank Scheck

It’s all a bit much, really, and the constant tonal shifts from a sort of demonic Fantasia to bouncy musical numbers proves more than a bit jarring. It doesn’t help that none of the songs are particularly memorable.

It’s all harmless fun, containing enough mild laughs and genuinely sweet moments (if you can contain your emotions during the reunion scene between Lyle and Hector, you’re made of stronger stuff than I am) to keep its target audiences entertained.

Fans will be relieved to know that this Hellraiser definitely doesn’t skimp on the gore, providing enough viscera and flayed skin to satisfy the most bloodthirsty viewers.

Unfortunately, despite its intriguing premise, Mr. Harrigan’s Phone lacks the necessary ingredient to make it truly memorable; it simply isn’t very scary.

The film makes an extremely powerful, timely and important statement, especially coming from someone whose name carries such symbolic weight. Disney deserves tremendous credit for standing up for what’s right, even if it means biting the family hand that feeds her.

Director-screenwriter Cregger displays an obvious perverse glee in guiding his audiences through his outlandish twists and turns.

There’s nary an amusing or unpredictable moment in the film.

Stallone provides just the right amount of world-weary gravitas and deadpan humor to put over the hokey material. And he still has the requisite imposing physicality to make the sight of his character beating up men a quarter of his age fairly convincing.

Easter Sunday earns points for its cultural bona fides, its loving portrait of the community it celebrates and its almost entirely Filipino and Asian-American casting. And Koy reveals himself to be a likable screen presence deserving of more starring roles. But it falls hopelessly flat in its comedic aspirations, more closely resembling the sort of bland network sitcom to which its main character aspires.

There’s enough carnage and violent action on display to satisfy Predator fans whose cinematic bloodlust knows no bounds, and the dramatic change in milieu provides some much-needed freshness. Featuring a cast composed almost entirely of Native and First Nations actors, Prey has clearly taken pains to be as authentic as possible.

Too often, the film gives off the feeling that it was designed for the inevitable line of toys for the upcoming holiday season, with plenty of cuddly animals of disparate types soon to line the shelves of a store near you.

The screenplay, credited to the five original Blazing Saddles writers as well as Ed Stone and Nate Hopper, is relentlessly silly but only intermittently funny.

Fourth of July turns out to be something we would have never expected from its director/co-writer — bland.

Minions: The Rise of Gru gives fans more of what they’ve come to expect, mainly Gru acting evilly, the Minions acting stupidly, and enough clever gags that will fly over its target audiences’ heads but keep their adult chaperones from dozing off.

It’s a thriller at times, but also a wickedly funny dark comedy. And it features a nostalgia-inducing yacht rock soundtrack that slyly comments on the action.

As Finley, Hopkins displays his usual magnetism, even taking the opportunity to play one of his own musical compositions on piano.

Definitely hewing to the “If it ain’t broke, don’t fix it” philosophy regarding big-screen versions of long-running television shows, The Bob’s Burger Movie should well satisfy devotees.

This hilariously meta reboot — excuse me, comeback — is everything the recent Space Jam sequel desperately attempted but failed to be. Premiering exclusively on Disney+, it’s the funniest movie of the year so far, either animated or live-action.

While it has a few genuine scares (cat lovers will want to avert their eyes for one horrific scene), it never achieves the deliriously freaky heights one expects from a film version of one of King’s cheesier novels.

By the time the film ends and the fates of the various figures revealed, you’re struck not only by the compelling narrative but also by the complex humanity of everyone involved.

For much of the way, The Bad Guys is antic fun, aided immeasurably by the terrific vocal performances.

The Tale of King Crab strains mightily for a poetic quality that it never quite achieves.

At a lean, mean 90 minutes or so, Ambulance might have been a guilty pleasure. Instead, it’s the sort of cinematic thrill ride so overstuffed that you can’t wait for it to be over.

Writer-director Shin’s labored attempts to use genre tropes to explore the complexities of domineering mother-daughter relationships never fully develops.

Director Power orchestrates the thriller plot mechanics with reasonable skill, and the film’s concise 90-minute running time ensures that the pace never bogs down.

Slasher film fans should embrace this Texas Chainsaw Massacre, which pays loving homage to the original via a variety of Easter Eggs and doesn’t at all stint on the gore. Seriously, there’s so much blood splattered on the screen that you’ll have an urge to wear a poncho if you sit too close.

As for the trio of animals who play Lulu, suffice it to say that if the film is a hit, kennels won’t be able to breed Belgian Malinoises fast enough. Forget the near-naked stripper gyrations in Magic Mike; when Tatum wraps his arm around Lulu as they sit and watch the sunset together, it’s the sexiest he’s ever been onscreen.

The film features plenty of photogenic real-life locations and some genuinely exciting action sequences.