Luke Parker

[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.

Doff’s directorial debut bursts off the screen with eccentric energy and yet, retains a relentless sense of duty to the company its characters keep. It’s effectively touching as a display of camaraderie, equally ridiculous, and a great deal of fun.

[LaBeouf is] one of the few actors capable of turning this protector companion on the page into a layered role.

Though The Highwaymen makes sure it tells the right story about Bonnie and Clyde, it doesn’t win the argument that it tells the better one.

All in all, though it may not be totally awesome, The LEGO Movie 2: The Second Part is still fun, which is what it should be, and you’ll still leave with a song stuck in your head. Maybe even two.

Replicas lacks vigor in its plot, intelligence in its science, depth in its ethics, and humanity all around. It’s a disaster.

There’s just enough cleverness in Escape Room to enjoy that this bad-horror-movie experience becomes more discouraging than droll.

Bohemian Rhapsody may not totally rock you, but Rami Malek channels the thrilling, show-stopping charisma of the late Queen super singer, ensuring this inappropriately timid biopic is as entertaining as it can possibly be.

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.

There isn’t a moment in Mary Poppins Returns that I would put above the 1964 classic, but there also isn’t one worth throwing away in this magical, if formulaic production.

The best ensemble cast of the year live through Steve McQueen’s Widows, an entertaining, intelligent, but altogether familiar rendition of the heist film.

First Man hardly comes close to capturing the overwhelming triumph behind Neil Armstrong’s lunar explorations, though the journey to get there is technologically masterful.

In spite of a momentous directorial debut and performance from Bradley Cooper, Lady Gaga leaves the lasting impression in A Star Is Born, a beautiful production perfectly suited to re-release the superstar as a top-tier performer; she is nothing short of astounding.

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.

Michael Moore points all 17 of his fingers in all directions during his latest ferocious, if scrambled film, surprisingly avoiding individual attacks and instead convincingly describing what role we all played in this globally-recognized disaster.

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.”

Spike Lee offers no solution here – his story’s conclusion, in the long run, hardly ends on a positive note – but rather a very, very loud plea that cannot be ignored.

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.

Driven by Stanfield’s performance, an intelligent story, and an even more impressive structure, this film is as funny as it is bizarre, and as bizarre as it is clever. It succeeds enough early on that Riley trusts he’ll hold everyone’s attention as he jumps off the deep end.

This beautiful work pays an immaculate tribute to him, illustrating the legacy of a man whose nature transcended the concepts of knowledge, understanding, age and love. Fifteen years after his death, the heroic and criminally under-appreciated efforts of Fred Rogers are finally being celebrated on the big screen in what may very well be the best documentary of the year.

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.