Henry Stewart

The film advances that old Hollywood trope: Blacks can't get justice unless whites are willing to get it for them.

About a drug that sends its users back in time for seven minutes, the film holds your hand and walks you through its chronology mazes

This a parable about adulthood boasts deeply cynical takes on home, community, and childrearing.

The film's central theme, about where attention-starved narcissism leads when taken to extremes, isn't quite sufficient to sustain an entire feature.

Would that Jacob Estes had kept the particulars of his murder mystery as intricate as the sci-fi of his main characters’ communion.

Once the film gets to the Orient Express, it's as if Kenneth Branagh is always itching to get off of it, even having Hercule Poirot at one point look over a list of names while standing atop the train for no discernible reason, except perhaps to enjoy the way the sun peeks out between two distant mountain peaks.

The filmmaker has a bad habit of dropping the psychological inquiries to dully go through the genre motions.

Director Jeff Wadlow's Truth or Dare is a startlingly mean-spirited but otherwise dimwitted horror film.

As released, All the Money in the World is by and large a conspicuously manufactured thriller that moves between manipulative psych-outs.

The fourth film in the Insidious franchise, directed by Adam Robitel, is lazy and sometimes even loathsome.

In the end, the filmmakers settle for stigmatizing victimhood, abusing Sue Ann almost as much as her former tormentors.

Greg McLean and screenwriter Justin Monjo faithfully hit the key plot points of Yossi Ghinsberg's 1993 book Back from Tuichi but fail to sell the severity of the threats Yossi confronts.

Like the teenagers at its center, Hot Summer Nights tries too hard to look cooler than it ever could be.

It becomes the obnoxious equivalent of trying to have a serious conversation with people who are high out of their minds.

Pierre Morel's first feature film set in the United States is brainless propaganda for the MAGA market.

There’s a lot of sexual violence in the film, but it scans as unimaginatively repulsive, as well as blatantly misogynistic.