Luke Y. Thompson

For better or worse -- plenty of both, in fact --it's a movie that has a coherent vision. It's a shame that vision just doesn't happen to be very interesting.

Jovovich isn't at her best, but that's mainly because her character is required to be in shock most of the movie, except when she remembers that she's a Charlie's Angel, or happily sheds clothing to maintain that R-rating. Frankly, most of us can live with that.

Too bad very few of these high jinks are actually funny -- the outtakes at the end of the film suggest a more relaxed ensemble vibe that the film proper was unable to retain.

It's not a movie one feels like hating, but the Hindi musical numbers aren't enough to elevate this over, say, "Pretty Woman."

May steal from the best, but it does it so badly and obviously that it has to depend upon gratuitous shock-cuts and soundtrack stings to elicit any kind of reflex-action fright from the viewer.

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

The movie gets bogged down in dull dialogue, despite some truly impressive special effects and a hilariously silly CG devil who closely resembles his counterpart from the PlayStation game Tekken 2.

The heist itself is quite nicely filmed herein, but unfortunately, getting to it requires sitting through a bunch of noisy, fussy crap, from the overly busy soundtrack to the irritating narration of stoned guy Leonardo Nam.

Director Marcus Raboy hasn't made a bad movie, exactly -- just one that seems to have forgotten its own jokes, much as those who watch it will forget everything about it a week later, stoned or not.

While the specifics of the plot are often as fragile as an actual glass house, those looking for a good night of disposable entertainment will find it here.

This Mansion should satisfy, at least until the disappointing climax.

There’s a funny notion in Chris Evans effectively playing a damsel in distress, but like everything else in Ghosted, the filmmakers have no idea how to play it.

If you peel away the surface of this movie, one is left with not much at all.

Like its predecessor, this cartoon adaptation is a bit too all over the place for its own good, never entirely clear on whether to play as parody or homage.

The movie ultimately cops out by culminating in a fistfight between two humans, with nary a cyborg missile-throwing devil in sight.

For a character-driven “mistaken identity” comedy that lives or dies based on the humorous interactions between two A-list leads, its lousy script barely constitutes life support.

Nothing worse than a silly movie that takes itself seriously, that bores us to death while we wait for the finale that comes too late.

It's a bad sign when you're rooting for the film to hurry up and get to its subjects' deaths just so the documentary will be over, but it's indicative of how uncompelling the movie is unless it happens to cover your particular area of interest.

Lansdown has a pretty good score by Atli Orvarsson... Nope, nothing else nice to say.

Plays like a knockoff of Michael Bay's already derivative and much more fun "Bad Boys," only with even less plot. It also recalls the worst qualities of John Singleton's mean-spirited "Shaft."

Initially artsy, then campy, then tense, it would have worked better if writer-directors Peter and Michael Spierig had kept everything serious and let the inherent absurdism of zombie attacks speak for itself without additional ironic comment.

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.

Even if the characters on screen didn’t become better artists during the pandemic, then Apatow at least should have. With The Bubble, he seems to have mistaken jokes about moviemaking for moviemaking that shouldn’t be taken seriously.

Feels dated in the post-9/11 world. But it would have felt passé and unnecessary regardless; it's the sort of film Michael Dudikoff, Chuck Norris and their ilk cranked out on a near-monthly basis when Reagan was president.

As by-the-numbers as VCR instructions. And, inexplicably, it's also a blast.

No doubt Fox wants to tap into those Latina dollars, but you've got to spend money to make money, and this shoddily cheap-looking product ain't gonna do it.

Yes, there are kills, but they’re often as comical as they are scary, and deliberately so. It’s a fun gateway horror movie for kids—and the easily scared who want to test their limits lightly.

Utilizing lots of complicated, well-choreographed steadicam shots, La Salle directs with confidence -- this may yet be his true calling.