Luke Parker

A simple and simply satisfying seal, El Camino: A Breaking Bad Movie will, in no way, tarnish the alchemic legacy of its TV precursor, though it doesn’t do much to enhance it.

Edward Norton mines political relevance in some areas of noir-drenched New York and completely ignores it in others. As a result, Motherless Brooklyn becomes Chinatown’s outshined, ugly stepbrother.

The Banana Splits Movie is a peculiarly fresh nostalgia trip and has just the right amount of gore to make this otherwise by-the-numbers slasher a surprisingly amusing experience.

Good Boys successfully exploits a newfound ground between crudeness and innocence, but nearly runs it dry.

Nearly every aesthetic decision that went into this version of the The Lion King detracts from the artistry and the heart that helped its predecessor surpass immortality.

Yesterday’s lackluster, underwritten script both births its golden egg concept, and also restrains it from ever reaching the next level of sophistication or interest.

With a greener blend of heart and humor, Shaft safely ushers in the vigilante detective for modern audiences, though safety never seemed to be a factor before.

A fantasy in nearly every sense of the word, Rocketman reaches for and grabs hold of the stars so often that the dazzle occasionally becomes too much to handle.

Charlie Says may not reach deep enough into the horrors that birthed the Manson Family, but as an exhibit of pathetically prophetic garble used to dehumanize and control women, it’s attentive and provocative.

Extremely Wicked wobbles between its two best, but unfortunately, contrasting features: Efron’s eerily seductive performance, and the psychological experience of loving a camouflaged monster.

Coupled with an uninvited human story at its forefront, Burton’s chilling style makes Dumbo nearly unrecognizable.

[The film] is really little more than a collage of gag-worthy and violent attempts at comedy.

Adopt A Highway seems as confused as its lead character, wandering around and never quite figuring out what story it wants to tell.

Poorly written and with hardly any thrills, The Mule disappointingly depends on the amiability of Eastwood’s character, whose extreme social ineptness is far beyond the redeeming powers of star power.

Feig, who’s been known to conjure up categorical spoofs (Spy, Bridesmaids), throws up Fincher-like curveballs, each one more disturbing than the last, only to strike out in the ninth.

There are just enough explosions in Mile 22 to keep you awake throughout the almost unbelievable amount of sludge that buries the rest of the film’s trim runtime.

Frankly, it’s heartbreaking to see the Henson name tossed about a project that’s so heartless and so gruesome that the only thing I imagine sticking from it is Phil’s “Silly String.”

The fuzzy residents of the 100-Acre Wood cutely convert to the real world in Christopher Robin, a mildly entertaining film that'll remind kids and grown-ups alike of the fun that can be had in doing absolutely nothing important.

This time around, Denzel’s “Equalizer” is less of a Robin Hood-like hero for the helpless, and more of a Travis Bickle-like vigilante, shooting his way through a murder caper that has neither the incentive nor the heart of its already forgettable precursor.

The fresh cast seems to have just as much fun as Knoxville and his buddies did making Jackass, but with its half-assed story and unusual presentation of the alluring and advertised stunts, Action Point feels half as genuine.

In terms of performance, Freeman generates about all the emotion this nearly one-man show puts out. At first, Andy’s mission is protection and self-reservation, but Freeman captures the process of shifting priorities marvelously, making Andy’s transition from worried improviser to adapted martyr all the more pleasing to experience.

Meow, there are laughs to be had here and there throughout Super Troopers 2, but unless you’re really riding the Highway Patrol's wave of manic police work, miss this stale revival and stick to the original.