Jordan Hoffman

The actual plot of this movie is confusing and idiotic (I really had no idea what the main baddie was trying to accomplish), but luckily, this is not an obstacle to having fun.

Prepare for more gruesome kills, more gross-outs, more insight into how a society might actually look a generation after an unfathomable event. These movies are clearly infectious.

For flash and rumble, F1 doesn't have an equal this summer. Roll down the windows and enjoy the ride.

Straw is not exactly subtle, but the emotions are so raw and the performances are so earnest that you’ve really got to have a heart of stone not to care for these people.

Like dining at Burger King, it's undeniably enjoyable, but may leave you with a queasy feeling when it's all over.

Weirdly it's because it is so damned hokey that parts of the movie are agreeable. One can't help but laugh. That, plus the lead performer, Ben Wang as Li Fong, is extremely likable. He gives a terrific performance, even if you've seen every beat before.

Unfortunately, there is an uncanny lack of urgency in the film. The characterizations are flat, the would-be quippy dialogue rarely elicits laughs, and the action sequences seldom rise above the level of satisfactory.

Bad movies come and go, but Hurry Up Tomorrow presents the Weeknd as so needy and so irritating that it may have lasting effects. The next time one of his songs comes up on a playlist, I may hit fast-forward. I've spent enough time with this guy.

Somehow, The Final Reckoning is 170 minutes, but, like Tom Cruise running across Westminster Bridge, it zooms. Even the acres of baffling dialogue are delivered swiftly.

Formulaic, dare-I-say-sappy movies, when done right, can be really good, and Nonnas is one such example.

A lot of what works in the movie does so due to the talent of the performers. There aren't a lot of jokes or killer lines in this, but little bits of business that Pugh and Russell, in particular, make work. Harbour's loud, boorish Russian bear is funny at first, but alas, gets tiresome in a short amount of time.

The ludicrousness on display here is enormous.

If you do not find yourself hootin’ and hollerin’ at Viola Davis — excuse me, President Viola Davis — packing automatic weapons, tossing grenades, and charging into a helicopter, well, your loyalty to good, idiotic fun might be questioned.

That the specific task at hand in Warfare is so vague is a good reminder that though this happened 20 years ago, there are people right now who have been ordered to enforce political will with violence, and this savagery will likely repeat for all time.

Jared Hess, co-creator of Napoleon Dynamite and a string of other small oddball pictures, brings a fresh perspective to what could have been a lumbering IP-pallooza movie.

The Michelle Yeoh fronted spin-off movie Section 31 is 100 minutes of generic schlock containing only trace elements of Star Trek.

All of the action is shot cleanly, and I could always tell where everyone was in relation to one another during the setpieces — which may not sound like much of a win, but if you think that, you clearly haven't watched too many direct-to-streaming movies. If you want something done efficiently, hire a union man.

It's got the thrills, it's got the creepy-crawlies, and it's got just enough plot to make you care about the characters. Alien: Romulus is a hell of a night out at the movies.

I'd place it more alongside the enjoyable The Visit or Split, and, indeed, there are some story commonalities with both. It is, however, masterfully shot, with great use of wide angles, cropped frames, and a sense of foreboding inside and around the concert venue.

The movie is two hours of cheap jokes, culminating in the world’s biggest Family Guy episode. It tries so hard to be clever, it just ends up being cringe.

What’s most impressive is how Perkins collects his simple component parts and somehow transforms this into such an unnerving film. Longlegs is definitely a step above the others.

There's a ton of technobabble that you have to take on faith, but Jones and Powell do more than sell it; they make it compelling.

While Beverly Hills Cop: Axel F isn’t terrible, and it does have a few funny zings plus one decent chase scene, there’s not a molecule of originality on display. One can’t help but call it a missed opportunity.

What’s strangest about this three-hour movie, though, is that despite some deadly slow patches, it still feels like an hour was cut from it, considering how characters develop off-screen. On more than one occasion, there are scenes that suggest deep and lasting relationships between people … that must have happened while the camera was somewhere else.

As with the others in the series, this is not an upbeat picture, but it is effective and unsettling without being too gory.

Jacqueline (Argentine) isn’t just a bad movie – there are plenty of those. It’s infuriating.

Julia Louis-Dreyfus, a treasure as always, basically plays it straight and is terrific.

Though Nicholas Hoult is charming as he struggles to find inner strength, Renfield lives or dies by Nic Cage camping it up. And he delivers.