Oktay Ege Kozak

The Nut Job 2 actually contains some impressive animation, with photorealistic backgrounds and detailed fur dynamics on the characters, but that makes it an even bigger tragedy, since we know that untold hours were spent by artists in service of a product that even the least discerning child would find tired and useless.

Such a thin plot from some of the Jackass guys would have been completely forgiven, or even blissfully ignored, if the stunts were on par, or at least close to, what we expect from these guys.

Truth or Dare commits the cardinal sin of a film with such a stupid premise; it tries to explain the spiritual source of the game.

It’s occasionally delightful, frequently funny, and good enough to make me look forward to what Greer will do next behind the camera.

In many ways, The Hurricane Heist’s lack of self-awareness regarding just how dated it feels plays to its advantage. If you’re looking for that 1997 big-budget CG showcase experience without the wink-wink self deprecating irony of The Lonely Island or Deadpool, then you should be fairly satisfied with this cinematic time capsule.

With his second feature, Roeck shows that he’s a talented and patient genre storyteller, even though his film’s rather flat cinematography and low budget doesn’t match his obviously more grandiose vision.

Lost in the Sun gets most elements right in order to put together one of those gritty and melancholic southern crime dramas, except for when it comes to producing a unique screenplay and direction that rises above mediocrity.

This is a standard vigilante/revenge fantasy too plodding to deliver the base genre goodies, and too simplistic to work as a character study on how a sudden life of violence can irredeemably disrupt an average citizen’s psyche, the way the original film at least half-heartedly attempted to do.

If it came out in the ’90s, I.T. would have been a silly distraction. In this day and age, it’s a colossal waste of time, a 14K dial-up in the time of fiber optic.

Considering Ferrell and Reilly’s immense talents, Holmes & Watson is an even more unsettlingly unfunny experience.

Carrey commits one hundred and ten percent, fluctuating accent notwithstanding. It’s only a matter of time before his newfound artistic intensity will be matched to suitable material to create something special.