Mark Kennedy

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The Associated Press
For 245 reviews, this critic has graded:
  • 48% higher than the average critic
  • 1% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 9 points lower than other critics. (0-100 point scale)

Mark Kennedy's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 It Was Just an Accident
Lowest review score: 0 Benedetta
Score distribution:
  1. Positive: 138 out of 245
  2. Mixed: 30 out of 245
  3. Negative: 77 out of 245
245 movie reviews
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    • 81 Metascore
    • 75 Mark Kennedy
    MLK/FBI
    There is nothing terribly new in the telling, no huge revelations or bombshells. Most of the details — including King’s infidelity and the use of Withers as an FBI informant — have been known for years. But that’s not Pollard’s interest. His canvas is large, stretching back to post-Civil War Jim Crow, exploring how notions of Black sexuality were turned into social weapons and into the way FBI agents were made mythical in popular culture.
    • 50 Metascore
    • 75 Mark Kennedy
    Now You See Me: Now You Don't
    Now You See Me: Now You Don’t does what sequels apparently must do these days — load up the characters, return to favorite bits and go global — but nails the trick, a crowd-pleasing return that already has a fourth in the works.
    • 53 Metascore
    • 75 Mark Kennedy
    Jungleland
    This very American fable has been blessed with three remarkable performances.
    • 55 Metascore
    • 75 Mark Kennedy
    The Secret Life of Pets 2
    If the knock on “The Secret Life of Pets” was that it was a rip-off of “Toy Story,” then the second film better grounds itself in its own universe. Like its main three characters, it has learned to be comfortable in its own animated skin.
    • 83 Metascore
    • 75 Mark Kennedy
    Sing Sing
    This is a premise that could turn horrifically treacly or maudlin. But Greg Kwedar — who directs and co-writes with Clint Bentley — has a firm, no-nonsense but emotional hand, even if he uses a few too many razor wire-though-the-window shots.
    • 85 Metascore
    • 75 Mark Kennedy
    The Eternal Memory
    The loving, lyrical Maite Alberdi -directed documentary is the story of one man’s decline due to Alzheimer’s disease, but it’s so much more. It’s a stronger love story and one that tries to say things about a country’s collective memory, too.
    • 54 Metascore
    • 75 Mark Kennedy
    Kung Fu Panda 4
    The series’ first new installment in eight years is a reliably funny, sweet and wonderfully realized passing of the torch, with a paw in the past and another into the future — an elegant goodbye and a hello. Many other filmmakers — ahem, Marvel and DC — might learn a thing.
    • 41 Metascore
    • 75 Mark Kennedy
    Edie
    The uplifting Edie is worthy of your time, mostly thanks to Hancock and Scotland’s natural beauty.
    • 72 Metascore
    • 75 Mark Kennedy
    Queer
    Queer is best when it’s a character study of Lee, who in Craig’s hands is charming, selfish, arrogant, abrasive, foppish and sometimes unable to read a room. It’s a million miles from 007, even if Lee carries a pistol.
    • 68 Metascore
    • 75 Mark Kennedy
    Just Mercy
    Just Mercy is not always an easy film to watch, but it is necessary.
    • 65 Metascore
    • 75 Mark Kennedy
    Bully. Coward. Victim. The Story of Roy Cohn
    Objectivity is not Meeropol’s goal here but better understanding of who this slippery character is, and this film succeeds in that.
    • 57 Metascore
    • 63 Mark Kennedy
    Burden
    For all of the inherent drama, it becomes clear that Burden, the man at the center of a film which bears his name, is really just a cipher, a sponge upon which we put meaning.
    • 52 Metascore
    • 63 Mark Kennedy
    A Working Man
    A Working Man is exactly what you expect when you unleash Statham on a noble mission.
    • 83 Metascore
    • 63 Mark Kennedy
    Private Life
    The script crackles with small, brilliant moments.
    • 80 Metascore
    • 63 Mark Kennedy
    David Crosby: Remember My Name
    Over the course of an hour and half, we learn a ton but never come much closer to understanding him. It’s as if he traveled back in time to flip us the bird just to mock us for trying.
    • 64 Metascore
    • 63 Mark Kennedy
    Barb & Star Go to Vista Del Mar
    The film nicely sends up spy capers, Broadway and buddy movies and is a lot like its two leading characters: Kindly, a little silly and as sweet as a candy-colored drink at the pool bar.
    • 81 Metascore
    • 63 Mark Kennedy
    Weapons
    If “Barbarian” came out of left field three years ago and heralded an exciting new voice in filmmaking, “Weapons” doesn’t disappoint but it doesn’t have the advantage of surprise. It will, at the very least, make you feel a little dread when the clock hits 2:17 a.m.
    • 45 Metascore
    • 63 Mark Kennedy
    A Minecraft Movie
    The Jared Hess-directed action-adventure artfully straddles the line between delighting preteen gamers and keeping their parents awake.
    • 49 Metascore
    • 63 Mark Kennedy
    Your Place or Mine
    The film allows Witherspoon and Kutcher to show off their naturally funny sides, especially when they’re fishes out of water. But many of the scenes drag on and sometimes the exposition is chalky.
    • 57 Metascore
    • 63 Mark Kennedy
    The Wedding Guest
    The Wedding Guest might not completely work as a thriller or a satisfying romance, but for anyone missing India or planning to go, it’s a film worth getting lost in.
    • 55 Metascore
    • 63 Mark Kennedy
    Violent Night
    It’s easy to initially dismiss it as an “SNL” digital short that got high on its own tinsel but there is a sort of perverse glee to seeing Santa suck on the tip of a candy cane until it is a sharp shard and then plunge it into a bad guy’s neck.
    • 71 Metascore
    • 63 Mark Kennedy
    Predator: Badlands
    Trachtenberg who previously directed and co-wrote the story of “Prey” in 2022 and the animated “Predator: Killer of Killers” earlier this year, is confident in this world and it shows. He’s created a story about the betrayal of family and the joy of found family — and slicing horrific, nightmare creatures in half with a laser sword. But it’s both parts of Fanning that steal the show.
    • 52 Metascore
    • 63 Mark Kennedy
    The United States vs. Billie Holiday
    In the frustrating The United States vs. Billie Holiday, Day gives it her all as Holiday but she can’t save a film that is overstuffed and also thin. Director Lee Daniels and screenwriter Suzan-Lori Parks offer an unfocused, meandering work for much of the time, interrupted by devastating scenes that feel like a punch to the gut.
    • 52 Metascore
    • 63 Mark Kennedy
    Eternals
    Zhao, whose film Nomadland was everything this is not — spare, naturalistic, moody — struggles with so much going on. The fight scenes are repetitive and the dialogue often stilted.
    • 60 Metascore
    • 63 Mark Kennedy
    The Many Saints of Newark
    One problem here is time, something the film obviously plays with. The Many Saints of Newark arrives 14 years after The Sopranos ended and that may be too long for anyone but the most ardent fan to keep up. The brain strains trying to connect new faces with old ones.
    • 30 Metascore
    • 63 Mark Kennedy
    The Crow
    In his attempt to give new life to the cult hero of comics and film, [Sanders has] given us plenty of beauty at the expense of depth or coherence.
    • 57 Metascore
    • 63 Mark Kennedy
    Wrath of Man
    Wrath of Man finds Ritchie in a moody midlife mood, his urge to be quirkily unpredictable now contained, even as his camera still swings around, going backward, ahead or soaring above. There is menace, a dull darkness and stillness, as if he’s watched “Heat” too many times.
    • 79 Metascore
    • 63 Mark Kennedy
    Furiosa: A Mad Max Saga
    By the time Miller is finished, he’s built an epic, gritty history in the Wasteland like “Lord of the Rings” or “Game of Thrones.” But was the point of this franchise a better understanding of the negotiating tactics of untrusty warlords in a hellscape? No: It was rocket-propelled grenades, motorcycles, chains, massive sandstorms and cracked skulls.
    • 76 Metascore
    • 63 Mark Kennedy
    No Sudden Move
    With so many murky motives, there’s little to care about, no way to anticipate the next con and no sense of real peril.
    • 73 Metascore
    • 63 Mark Kennedy
    Anaïs in Love
    Bourgeois-Tacquet, making her feature debut, struggles to find ways to tell the audience what’s going on her heroine’s head.
    • 41 Metascore
    • 63 Mark Kennedy
    Black Adam
    Director Jaume Collet-Serra and the design team do a great job in every department but are let down by a derivative and baggy screenplay by Adam Sztykiel, Rory Haines and Sohrab Noshirvani that goes from one violent scene to another like a video game in order to paper over a plot both undercooked and overcooked.
    • 58 Metascore
    • 63 Mark Kennedy
    Jumanji: The Next Level
    Like all sequels, the second suffers from not having the delicious surprise of the first, but the seed to a third film is hinted at in the closing credits, which is more than the first film promised.
    • 39 Metascore
    • 63 Mark Kennedy
    Here
    Here fails to connect all these centuries of human experiences, other than to celebrate the human experience in all its messiness, triumph and sadness.
    • 61 Metascore
    • 63 Mark Kennedy
    Scream VI
    Despite the change of scenery, Scream VI is less a sequel and more a stutter-step, a half-movie with some very satisfying stabbings but no real progress or even movement. It’s like treading water in gore. And to fully enjoy this “sequel to the requel,” you need to have watched most of the others.
    • 58 Metascore
    • 63 Mark Kennedy
    Flamin' Hot
    This is more than just a snack-version “Rocky” story, with the filmmakers exploring the insecurity of factory shift workers, the stress of integrating into white culture, how hard it is for corporations to innovate and the ability to silence the voices in your head that urge you to quit.
    • 42 Metascore
    • 63 Mark Kennedy
    Aquaman And The Lost Kingdom
    It’s perhaps appropriate that the latest Aquaman movie is about a lost kingdom. In many ways, this mini-franchise is just that, a Jason Momoa kingdom that could just quietly sink below the cinematic waves.
    • 54 Metascore
    • 63 Mark Kennedy
    The Conjuring: Last Rites
    "Last Rights” — part of a universe that includes “The Nun” and “Annabelle” franchises — is a decent enough final cinematic prayer for this franchise, combining the personal story of the Warrens and their daughter, Judy, with a new paranormal possession that’s created a freaked-out family.
    • 74 Metascore
    • 63 Mark Kennedy
    My Old Ass
    Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for “My Old Ass” and the results are uneven even though she nails the landing.
    • 48 Metascore
    • 50 Mark Kennedy
    Underwater
    Director William Eubank keeps the action taut and the look of the film is realistically impressive and dark, with grimy, dirty workers donning cool dive suits that make them each look like Transformers. His camera often goes tight on the shocked faces inside the helmets. Stewart, in particular, shines with a combination of steely nerves and harrowing expressions.
    • 57 Metascore
    • 50 Mark Kennedy
    The Book of Clarence
    Samuel never stays with any idea for long and “The Book of Clarence” lacks cohesion, as well as consistency, even if the acting is superb, especially from a soulful Stanfield.
    • 48 Metascore
    • 50 Mark Kennedy
    Golda
    Golda has seeds of interesting insights, like the suggestion that she was betrayed by some of the men she relied on during the war and yet protected them. Or how false intelligence is nothing new when it comes to Middle Eastern conflicts. Or how female leaders inevitably face catch-22s. But none of these is taken.
    • 85 Metascore
    • 50 Mark Kennedy
    The Fabelmans
    The focus sometimes gets a bit blurry, to be honest and the whole thing often doesn’t add up to much.
    • 58 Metascore
    • 50 Mark Kennedy
    The Roses
    There are dark marriage comedies and then there’s “The Roses,” an escalating hatefest that, by the time a loaded gun comes out, all the fun has been sucked out. It’s hard tonally to go from microaggressions to the burning of someone’s prized books to attempted murder and stay a comedy.
    • 54 Metascore
    • 50 Mark Kennedy
    M3GAN 2.0
    Two hours later, it’s not clear if this is really an upgrade.
    • 53 Metascore
    • 50 Mark Kennedy
    Beverly Hills Cop: Axel F
    “Axel F” is not exactly Murphy’s finest hour, either. But Murphy just saying “Jesus!” is funny. Let’s hope we don’t have to wait another 30 years for our next Axel Foley fix. God, we’ve missed him.
    • 54 Metascore
    • 50 Mark Kennedy
    The First Purge
    McMurray has a deft touch juggling action sequences, humor and intimate dialogue.
    • 69 Metascore
    • 50 Mark Kennedy
    Wendell & Wild
    Beneath it all is the story of a child’s love and guilt — and an education and judicial system letting her down — which propels her to bring her parents back from the dead, but that gets a little lost in the gross-out humor, Addams Family-level weirdness and shock-for-shock’s sake visual gags like a demonic teddy bear. For all the lovingly crafted spectacle, Selick’s agonizing, shot-by-shot film, is as overstuffed as that bear.
    • 61 Metascore
    • 50 Mark Kennedy
    The Wretched
    The editing is more than a little rough and the plot gets a little stretched, but just as things start to get seriously hairy, the Pierce brothers suddenly have something really interesting to say about erasure and how families can abandon their histories.
    • 50 Metascore
    • 50 Mark Kennedy
    Shelter
    Shelter is everything you expect a Jason Statham movie to be, no more and no less.
    • 53 Metascore
    • 50 Mark Kennedy
    Aladdin
    It’s pretty clear after watching the new live-action Aladdin that doubts about Will Smith’s casting as the Genie are overblown. It’s the guy behind the camera who should be doubted. And stuffed into a small lamp forever.
    • 42 Metascore
    • 50 Mark Kennedy
    A Journal for Jordan
    Washington earns his audience’s tears with an unrushed, unshowy style, letting an adult and very human relationship evolve on camera, skipping back and forth through years as it goes from love, birth, death and acceptance.
    • 66 Metascore
    • 50 Mark Kennedy
    Thirteen Lives
    Neither the divers nor kids, government officials nor families and volunteers really come into focus, staying as murky as the miles of submerged cave.
    • 53 Metascore
    • 50 Mark Kennedy
    The Tender Bar
    The Tender Bar is a gentle, oddly crafted but loving look at men, fueled by a soundtrack of classics like Paul Simon’s “50 Ways to Leave Your Lover” and Steely Dan’s “Do It Again.” It’s a valentine to guys who step up.
    • 73 Metascore
    • 50 Mark Kennedy
    Ferrari
    Most of Mann’s toolkit is here — slick and moody camerawork, a poetic surrounding and heightened use of music, even the car porn of “Miami Vice.” But Ferrari — despite Mann’s leaning on Italian opera — fails to ignite.
    • 66 Metascore
    • 50 Mark Kennedy
    Devotion
    The script by Jake Crane and Jonathan A. H. Stewart is a slow-burning affair that will have audiences tugging at the leash.
    • 72 Metascore
    • 50 Mark Kennedy
    Eileen
    By sanding off all the dark human quirks from their deeply human heroine, the filmmakers have left us a film that’s just filling the space.
    • 59 Metascore
    • 50 Mark Kennedy
    Bad Boys for Life
    “Bad Boys” only works when the bickering cops are center stage.
    • 44 Metascore
    • 50 Mark Kennedy
    Next Goal Wins
    Next Goal Wins isn’t a tale of “woe” or “woah!” but “meh.”
    • 30 Metascore
    • 50 Mark Kennedy
    The Ice Age Adventures of Buck Wild
    Visually and storytelling-wise it’s not a cut above much of what kids can watch on TV these days. This is a franchise that looks like it’s slowly going the way of the dinos, while we drool.
    • 61 Metascore
    • 50 Mark Kennedy
    Respect
    The script by Tracey Scott Wilson (Fosse/Verdon) is a collection of scenes that don’t add up to much, never really building and interrupted — by necessity, of course — with overly long music sequences. This film needed someone to sharpen and clarify.
    • 68 Metascore
    • 50 Mark Kennedy
    Brats
    McCarthy’s visual style is too fragmented, happy to capture his scrambling camera and sound operators in the frame and changing up his shots from guerilla-style jerky iPhone images to tasteful, polished portraits.
    • 53 Metascore
    • 50 Mark Kennedy
    The Conjuring: The Devil Made Me Do It
    While the franchise soldiers on unironically, the films may fail to keep up with the real world, where fears have metastasized.
    • 66 Metascore
    • 50 Mark Kennedy
    Dog Man
    Peter Hastings, director, screenwriter and animal voice of Dog Man, has had a hand in Pilkey’s much better adaption of “Captain Underpants,” but this time smashes together characters and plot lines from several of the books in a way that is hard to follow even for fans.
    • 50 Metascore
    • 50 Mark Kennedy
    The Hunt
    The Hunt is not great satire or even a great film. It’s an unstylish and heavy-handed horror-thriller that turns into a revenge gore-fest as it mocks everyone with a big clumsy paw.
    • 44 Metascore
    • 50 Mark Kennedy
    Mortal Kombat
    Simon McQuoid does a decent job on his feature directorial debut, giving us a constantly staggered hits of dopamine in the form of controlled violence.
    • 51 Metascore
    • 50 Mark Kennedy
    Whitney Houston: I Wanna Dance With Somebody
    Ackie’s performance is something to be cheered, reaching for the the kind of authenticity that Andra Day channeled when she also tackled a doomed musical icon in “The United States vs. Billie Holiday.” But so much clumsiness, scenes featuring unnaturally heightened drama with little insight and the compromised authenticity of the performances drag I Wanna Dance With Somebody down — ultimately, it’s not right but it’s just OK.
    • 63 Metascore
    • 50 Mark Kennedy
    On Swift Horses
    On Swift Horses belongs in the same category as other hushed ’50s-set same-sex romances, like Todd Haynes’ “Carol” or Luca Guadagnino’s “Queer.” But this adaptation hasn’t made the leap to the screen very well. Sometimes swift horses stumble.
    • 45 Metascore
    • 50 Mark Kennedy
    Insidious: The Red Door
    If the “Insidious” franchise is your jam, by all means go and see the original Fab Four of the Lambert family battle hollow-eyed demons for perhaps the last time. But for everyone else, why not let the past stay in the past?
    • 53 Metascore
    • 38 Mark Kennedy
    Lilo & Stitch
    Disney should have left the original alone.
    • 72 Metascore
    • 38 Mark Kennedy
    Orion and the Dark
    Orion and the Dark is about fear and overcoming it but this movie directed by Sean Charmatz has too much junk clogging up the vision.
    • 50 Metascore
    • 38 Mark Kennedy
    They Will Kill You
    They Will Kill You may remind you of the marriage between madcap, social satire and bloody mayhem from “Ready or Not” but it’s a warning of how hard that combo is to get correctly.
    • 64 Metascore
    • 38 Mark Kennedy
    The Bad Guys 2
    The Bad Guys 2 has clearly lost its moorings.
    • 49 Metascore
    • 38 Mark Kennedy
    Horizon: An American Saga - Chapter 1
    Part of the problem of “Chapter 1” is that in addition to overstuffing it with too many characters, the editing is pretty bad. Viewers will struggle with some violent cuts in which Costner has jumped the action forward months within the same chapter without any clues.
    • 57 Metascore
    • 38 Mark Kennedy
    Spinal Tap II: The End Continues
    Spinal Tap II is filled with ghosts. It’s like watching a cover band playing the hits but then realizing it’s actually the original band onstage after all.
    • 60 Metascore
    • 38 Mark Kennedy
    GOAT
    It’s not as funny as it thinks it is and tiresome in its overly familiar redemption arc.
    • 53 Metascore
    • 38 Mark Kennedy
    It Ends with Us
    But It Ends With Us doesn’t end quickly enough — more than two hours drag — with tangents and poor editing, like sudden scene cuts that leave viewers looking for clues to where they are.
    • 65 Metascore
    • 38 Mark Kennedy
    Men
    The problem with Men isn’t with the acting. It’s with a script that could be described as attempting at something like arty horror and can’t stick the landing. Often it is tedious, slow to build and pretentious.
    • 44 Metascore
    • 38 Mark Kennedy
    Cherry
    Overly long, bombastic and poorly focused.
    • 61 Metascore
    • 38 Mark Kennedy
    Song Sung Blue
    Overall, it’s just not so good, so good.
    • 53 Metascore
    • 38 Mark Kennedy
    Pokémon Detective Pikachu
    You’ve played Pokémon Go, right? Call this one Pokémon Don’t Go.
    • 42 Metascore
    • 38 Mark Kennedy
    I Know What You Did Last Summer
    Look, we hate to break it to you, it’s not going to end well for many of this privileged set, as they hunt whoever is hunting them. Coherence is also stabbed a lot because a clear motive for the mass murder is really hard to understand.
    • 31 Metascore
    • 38 Mark Kennedy
    The Garfield Movie
    A curious new animated attempt to monetize the comic icon again by giving him an origin story and then asking him to do things a galaxy away from what he does in the funny pages.
    • 39 Metascore
    • 38 Mark Kennedy
    The Nutcracker and the Four Realms
    The Nutcracker and the Four Realms is visually marvelous, inconsistently acted and rather incoherent in that fantasy genre way.
    • 45 Metascore
    • 38 Mark Kennedy
    Wonder Park
    Wonder Park has a great premise about a spunky kid engineer and a world she constructs taking flight, but takes a few too many dark loop-de-loops and crashes hard. If you pass this amusement park, skip it.
    • 48 Metascore
    • 38 Mark Kennedy
    The Protégé
    At the film’s center is Q but there is a hollowness there. She can rappel down a staircase using a fire hose, endure waterboarding and use a dinner tray as an assault weapon, but there’s little insight in her inner life or emotions and her backstory appears too late.
    • 44 Metascore
    • 38 Mark Kennedy
    Have a Good Trip: Adventures in Psychedelics
    More concrete examples of how mushrooms or dropping acid aided life are sorely needed.
    • 35 Metascore
    • 38 Mark Kennedy
    Scream 7
    Lumbering along while fatally wounded, this is a franchise that doesn’t know it is dead, staggering ever onward without an ending in sight.
    • 65 Metascore
    • 38 Mark Kennedy
    Ron's Gone Wrong
    Ron’s Gone Wrong thinks it’s being subversive when its really being very corporate. It wastes its voice cast — including Olivia Colman, Ed Helms and Zach Galifianakis — and it never really connects, ending as awkwardly as a modern-day seventh-grader with a rock collection.
    • 80 Metascore
    • 38 Mark Kennedy
    Wake Up Dead Man: A Knives Out Mystery
    A satisfying conclusion awaits but, truth be told, it has been a bit of a slog, with soft digressions into social critiques and the meaning of faith grafted onto a setup that, by the third movie in the franchise, shows its seams instantly. Wake up, indeed.
    • 70 Metascore
    • 25 Mark Kennedy
    The King
    Throughout The King, you can feel Jarecki desperately working, slicing, trying to make connections. What could have been a gentle, personal travelogue is reworked and reworked until it’s often guilty of the last sin of Elvis — excess.
    • 42 Metascore
    • 25 Mark Kennedy
    Transformers: Rise of the Beasts
    The problem with Transformers: Rise of the Beasts is the same problem faced by all of the installments — balancing the humanity with the metal.
    • 53 Metascore
    • 25 Mark Kennedy
    Red Sparrow
    This dark, meandering and cliche-ridden bummer starring a trying-hard Jennifer Lawrence tries to reach for a cool and stylish look at contemporary spycraft but often falls victim to cartoon violence and a muddled story. The creators may call it erotic but it’s as erotic as a visit to the dentist.
    • 51 Metascore
    • 25 Mark Kennedy
    The Grinch
    Credit goes to the film’s visual effects folk, who made fur alive and gave texture to smoke. But retreading this story with a Cumberbatch, should send Hollywood bigwigs into the booby hatch.
    • 35 Metascore
    • 25 Mark Kennedy
    The Last Thing He Wanted
    The first half doesn’t fit with the second half, there are too many distractions and the filmmakers think it’s clever to leave clues but they do it clumsily and at the last minute and it’s really exhausting for the viewer.
    • 47 Metascore
    • 25 Mark Kennedy
    The Nun II
    A new directing and writing team fails to shock or scare with a color-by-numbers plot and a meandering, languid wannabe frightfest.
    • 66 Metascore
    • 25 Mark Kennedy
    Sasquatch Sunset
    A bewildering 90-minute, narrator-less and wordless experiment that’s as audacious as it is infuriating. It’s not clear if everyone was high making it or we should be while watching it.
    • 45 Metascore
    • 25 Mark Kennedy
    Paws of Fury: The Legend of Hank
    Paramount’s limp, animated remake actually triggers new stereotypes in the service of trying to expose racism for a pre-teen audience. The studio seems to have reached for legitimacy by bringing the venerated Brooks along for the bumpy ride, darkening both legacies. What emerged sits uneasily at the corner of tribute, parody, theft and laziness.
    • 45 Metascore
    • 25 Mark Kennedy
    Ghostbusters: Afterlife
    It is more like half a movie, standing in the shadow of its parent. It is a film made to sell us more lunchboxes.
    • 49 Metascore
    • 25 Mark Kennedy
    Spenser Confidential
    Spenser Confidential is a bit of a mess tonally with a plot that keeps attracting new weird layers, like lint on a sweater. It wants to be funnier than it is. It hopes to be deeper than it is.
    • 42 Metascore
    • 25 Mark Kennedy
    Opus
    Green wobbles as he tries to land this plane and what had been an intriguing premise to talk about fame and the parasitic industries that live off it turns into a gross-out, run-for-it bloodfest and a plot that unravels. It becomes what it intended to satirize — a pop spectacle.
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