Odie Henderson

It’s an acting dream part and Moura’s more than up to the challenge.

Snakehead entices you with a lurid premise, but the empathy that shines through the cracks of its tough exterior is the real surprise.

I suspect people want to be distracted by something that makes them stand up and cheer. “Beast” serves that purpose well-enough.

I enjoyed the first three adventures of the Dragon Warrior, but the best thing he can do now is to give this series a much needed skadoosh, sending it to rest in the cinematic spirit realm.

The singing talent is there, but Eastwood and writers Marshall Brickman and Rick Elise opt for a more realistic depiction of events. They transform Jersey Boys from jukebox musical to movie biopic, exchanging one much-maligned genre for another.

In the few moments where he's left to prank people on his own, Bad Grandpa doesn't treat him like the clichéd potty mouthed kid out for shock value. Instead, he uses his childlike innocence to make the adults more uncomfortable than his grandpa's raunchier shenanigans ever could.

I should have been more affected by Arthur the King because, after all, “Old Yeller” conditioned my generation to erupt in tears whenever a dog’s fate looks dire. And yet, all I saw were the familiar gears churning underneath.

Throughout the mayhem, Marcus and Mike bicker like an old married couple. While this interplay has always been the best element of the “Bad Boys” universe, Smith and Lawrence look disinterested this time. It’s as if they’re getting too old for this [expletive], to use a phrase from a much better buddy-cop movie series.

Strays is a live-action flick about talking canines. As a movie, it is not a good boy; it is a bad dog. But if I were currently 12, I might have reacted in a more positive way.

As they discuss "how much this strip meant to me," I got the sense that Dear Mr. Watterson was as uninterested in them as I was; they're not even identified.

I would be much harder on this movie if I didn’t have such a good time watching it. Admittedly, it’s ridiculous, but I absorbed all of its haphazard chaos with a huge smile on my face.

The dudes all have blinders on in this movie. It appears that the only people to see things clearly are the women characters, which makes Miri’s final act the most shocking one of all.

This is an unapologetic audience-pleaser, though it’s not for the squeamish. Say no to drugs. Say yes to “Cocaine Bear.”

Even if you’ve only seen one of these films, you won’t need to spend 156 minutes witnessing the rise of a madman whose actions never required any backstory in the first place.

Mirren holds the film together with her narration, but she can’t save the film from Forster’s penchant for overdoing emotional scenes or from Thomas Newman’s intrusive score.

Silent Night wants to be the new action movie associated with Christmas. But don’t worry, fans of “Die Hard”; that movie’s place is still secure.

Pain plus impatience does not make for a favorable review, even if the film marks the return of one of our greatest living actors.

Thank goodness for Method Man, who understood the assignment and made the film watchable and fun whenever Jordan showed up. When he isn’t on screen, “Bad Shabbos” is a mediocre movie.

Big Ass Spider! wants to serve two masters, the ones who unabashedly enjoy this type of movie without shame, and the ones who openly mock it with false senses of superiority.

Here is a movie that wants to traffic in Coen Brothers-style nihilism yet lacks any of their storytelling skill.

Though Trolls Band Together mercilessly beats its familiar, tired message about the importance of family into the ground, it’s still surprisingly watchable with plenty of voice and singing talent.

At an outrageously over-long 127 minutes, writer-director Christopher Landon’s adaptation of Geoff Manaugh’s novel “Ernest” feels like a different movie every 15 minutes.

Even if I like the film, as I did with “The Little Mermaid,” I still conclude that corporate greed is the sole reason for its existence.

While this is a true story, Ozon goes the fictional movie route, taking a bit of dramatic license while keeping most of the actual details intact. The director impressively juggles the large scope of his script while maintaining the sense of intimacy for his male actors that he normally reserves for his female characters.

Fatherhood is at its best and most watchable when it’s just Hart and Hurd onscreen. Matt and Maddy’s undeniable and reciprocated love for one another radiates from the actors, even in their broadest scenes of comedy.

This is the same "young man's coming-of-age story" you’ve seen over and over. Nothing new has been added. The poster calls this “a feel good movie,” but who is supposed to feel good here? Certainly not the average viewer, who has seen this tired material so many times they can practically recite the dialogue.

Unfortunately, director Aidan Zamiri and his co-writer Bertie Brandes are equally bad at mockumentaries and generating suspense.

Wait for this to show up where it belongs — on cable.