Luke Y. Thompson

It’s silly, sitcom-y, and impossible to call “good,” but Falling For Christmas is the kind of bad that feels almost appealing.

Essentially the movie's an excuse to show off cool gadgets and co-star Angie Harmon's cleavage.

It’s impossible to take any of this remotely seriously, or find it particularly frightening. But it is its own sort of fun, at least for a while.

While some of Max's pranks are exhilarating and funny -- the movie takes too long setting things up and, once the pranks are over, dawdles to its inevitable conclusion.

All the ladies get repeatedly naked, which, after all, is why you're going to go see it. And there's nothing wrong with that.

It makes as good a case as any for the use of animation as a medium for serious, mature features.

There's nothing particularly wrong with this whole setup; it's just very by-the-numbers.

The setup's a bit reminiscent of "The English Patient" -- except that Beart's much easier on the eyes and ears than Ralph Fiennes is -- but Strayed is even slower moving, if you can believe it.

Like most films of its type, Something New is not tough to sit through, but the thought of paying full price to see it isn't especially desirable.

The fights are mostly cool, save the final one with too many quick cuts, and the morphing graffiti and tattoos are nifty. If only the rest of it weren't so stupid.

Unfortunately, it's also pretty banal -- translating the songs into English reveals just how dull their lyrics and sentiments really are. The colors are pretty though.

Your individual tolerance for Jimmy Buffett music will determine how well all the scenes set to his music go down.

The goal of a movie like Dig ought to be simple: keep ratcheting up the tension to the point that when our main character(s) finally turn the tables, it’s hugely cathartic. Unfortunately, the “ratcheting” part is where Dig fails to hit paydirt.

James does a decent job with what he’s been given, but it’s never clear exactly what the movie hopes to do with his character. Is this just another crime and punishment retread? Or is it meant to serve as a metaphor for dealing with grief while disabled? It’s too broad to work as the latter, and too unhurried for the former.

The movie at times feels like an eternal cycle of the nine-minute ride, which loses its luster after 123 of those minutes. It offers you this chilling challenge—find a way out! Better yet, refrain from being the mortal foolish enough to enter in the first place.

From the cast to its odd, intriguing locations, Sigal was successful in assembling many of the right ingredients. Unfortunately, they lack a chef who knows how to properly combine them, whether that’s to create a meaningful sense of cohesion or to truly create the kind of beautiful chaos that makes Lynch such a mesmerizing source of inspiration.

For a solid portion of its running time, Gigi & Nate at least delivers what it promises: a young man and his monkey—to be more specific, a young, newly quadriplegic man and his service monkey.

Far be it from us to actively reveal what scuttles Zemeckis’ film, but let’s just say that it seems like the people who made its biggest creative choices have more wood for brains than the character they brought to life.

As intriguing as the combination of Binoche and Grillo might sound, it would be much more impactful if they shared the screen for more than a handful of scenes. As such, the movie begins with a bang, but it ends with a whimper.

In the wrestling ring, Cena used to wear a shirt which read “Rise Above Hate,” and indeed, he does so here. It would be better if he found a project where he didn’t have to.

Generally speaking, the best kinds of story surprises illuminate the material; the worst simply laugh at you for falling for red herrings. Much of what happens in The Twin bounces back and forth between those ends of the spectrum.

For the first half-hour, Netflix has a high-concept hit on its hands. Pause it there, and imagine the rest—you won’t do any worse than Barris and Hill’s script at conceiving an ending.

The movie's not without moments of genuine humor--no comedy starring Steve Martin could be--but sad to say, his Oscar-hosting gig two years ago was funnier.

Film falls into the same trap as the book: a moderately interesting setup ultimately undone by an ending that makes the audience feel like fools for investing any sympathy with the characters.

It's not a terrible premise -- It is, however, terribly executed.

It isn't until Joe starts getting confident and cocky that Allen starts to feel a little more natural in the role, and by then the movie's plot has all but evaporated into a series of wispy gags that barely register.

Rebound isn't funny.

Some fairly standard shenanigans ensue, and when the clichéd high school culture clash stuff stops, there's clichéd cop movie stuff going on.