Luke Parker

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.

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

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

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 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.

A macabre masterpiece, Joker’s social relevance may be disputed for years, but the film and its star may never be denied the grandeur of their cinematic revolution.

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.

Blazingly and brilliantly over the top, Jojo Rabbit’s total dismissal of subtlety is its most ferocious ally and, only occasionally, its most frustrating foe in the war against hate.

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.

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.

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.

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

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.

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

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.

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

While its well-founded intentions and creative intuitions are palpable, not even a tortuously acrobatic performance from Aaron Taylor-Johnson saves A Million Little Pieces from consistently sober storytelling.

Rampage is noticeably in trouble once it becomes obvious that the giant virtual gorilla is the most human presence onscreen, and that doesn’t take too long.

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.

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.

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.

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.

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.”

Between the split bones and compulsive carnage, a disjointed script, co-written by Stallone and Matthew Cirulnick, makes Rambo: Last Blood mindless and messy.

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