Marjorie Baumgarten

The new Death Wish is unlikely to spark similar controversy, simply because the filmmaking is not as compelling as in the original film.

Headlining a less-than-mediocre kids’ movie taints one’s brand rather than enhancing it. Just ask Shaq.

Even though everything about this project probably looked good on paper, upon completion The House comes up snake eyes.

Fortunately, Brian Cox delivers a bravura performance that keeps things watchable, if not always dramatically truthful.

Seeing what St. Andrews’ greens must have looked like in their native days before all golf courses became zealously manicured is refreshing. The film’s action, however, is rarely filmed in a way that highlights the action, and the story’s biographical elements lack dimension and drama.

Ultimately, this is a movie that’s more about the Ottoman Lieutenant’s Woman than The Ottoman Lieutenant himself – another example of the film’s epic misdirection.

"Avatar’s" Worthington is adept at playing a tortured soul, but his American accent and dramatic range are both wanting in this movie.

Fist Fight is not a complete dud, but it does grasp at the lowest hanging fruit for its humor.

The horror that lies at the heart of the film is fairly obvious, and with no characters for whom we have a rooting interest, A Cure for Wellness is as difficult to swallow as castor oil.

There is a certain sweetness to this teen romance and Gardner’s naive fascination in the newly discovered wonders of Earth. But there is so much that is dopey, on both a scientific and emotional level, that The Space Between Us strikes with the impact of a crash landing.

Collateral Beauty is ultimately as mushy a movie as the phrase itself, whose definition is never fully explained by the script. It’s another example of something sounding good but meaning little.

There’s no pacing to the narrative, and the images are perfunctory. I’m Not Ashamed will draw the same audience that has turned Rachel’s journals into popular reading matter, but the film is not likely to lure any converts.

Is That a Gun resorts to smutty humor and moralistic speeches to confront the issue of American gun violence in the wake of Newtown, Conn. This movie uses those murdered babies’ name in vain.

Writer/director Damien Lay’s screenplay has some head-scratchers in addition to its flat dialogue, but it’s clear that the airplanes rather than the characters are his real passion. Unfortunately, his film never takes flight.

Mother’s Day, the movie, feels as contrived and inauthentic as the holiday itself.

This comedy has a few genuine laughs, but The Bronze never even comes close to making it to qualifiers.

Adults may respond with a laugh every once in a while, but they’re unlikely to find Fifty Shades of Black a nonstop titter fest.

Told in a chaotic fashion, the movie jumps from scene to scene without a lot of continuity.

Although the plot is pretty bare-bones, it’s propped up by plenty of gratuitous dialogue and imagery that do nothing to further the story.

The original was indeed ludicrous, but it exuded warmth, vitality, and belief in itself. The 2.0 update splashes up on shore DOA.

The religious charlatans who are the primary characters in Don Verdean are ripe for comic deflation, but the film’s unsteady tone has no discernible target.

One of the unfunniest comedies it’s ever been my misfortune to see.

Even though it’s fair to say that Pixels is on steadier ground than most of Sandler’s recent comedies, the film is nevertheless flat-footed and grows tedious after the first hour.

When this stereotype masquerades as a storyline, it needs to have a unique spin or radical narrative disruption for it to stand out from all the other self-made movies about white male artists with girl problems and self-worth issues. In Stereo is not the movie that stands out from the rest.

Aloft’s characters exude a certain impregnability, and the story’s structure only further distances us from them.

Even if some of its history and buckles are askew, the film is still an original take on a Christian redemption story.

Oh, for a time machine that would give me back the hour and a half I spent watching this movie.

Not even this sprightly cast can buck the privileged sense of entitlement that bedevils this movie. Don’t count on the impish humor that Simon Pegg has unleashed so successfully in other movies to save the day.