Scott Bowles

Machete Kills dulls more than anything. It's not that Robert Rodriguez's sequel lacks any of the camp or exploitative violence of the 2010 original. The mayhem has just become boring.

It's been a long time since a movie wasted as much talent as Stand Up Guys, a film that aims to be a geezer "Goodfellas" but whose execution is a misfire.

Hart is much like Murphy: fast-talking, mischievous and irresistible. He's so confident and good-natured that we see how Angela fell for her pint-sized slacker.

Hell Baby is what happens when you try to parody a parody. The result is a film that's less than half as funny as its predecessor, and a sliver as clever as the original.

Indisputably the most violent film of the year and disputably the worst.

When the comedy connects, it can deliver with funny force

The result is a convoluted mess that has one good twist and two good car chases. But it's hardly enough to bring this spy flick in from the cold.

Even horror neophytes won't be spooked by a film that looks as if it were shot with a smartphone and an Itty Bitty Booklight.

Homefront is what "Breaking Bad" may have resembled had Sylvester Stallone written the TV show.

It's been a long time since a movie wasted this much talent.

For a movie with a star wrestler at the center of it, Legendary doesn't pack much of a punch.

There's nothing wrong in the setup: It worked fine in films like "Adventures in Babysitting" and "Uncle Buck." But director David Gordon Green populates the movie with so many soap opera asides it's hard to keep count.

A flimsy, occasionally spooky demon tale.

And So It Goes plays a little like the graying lounge act it honors: It's impressive for its age, though not altogether impressive.

Preachy, manipulative and emotionally barren.

Despite some high-caliber voice talent and shimmering animation, it's hard to get a bead on this tale.

You have to give director Jonathan Liebesman some points for sparing no shell casings or standing buildings to hustle us through the film's languorous two hours.

The movie spends too much time wedging the couple into a May-December moment, where Crystal cracks nostalgic about the good old days. It's sweet, but it grows old.

Conan the Barbarian lives by a pretty simple ethos: He lives, he loves, he slays. What he doesn't do, alas, is act.

Alpha and Omega is one of those rarities in the modern era of Hollywood animation: bad.

Four is so cobbled with bits of other sci-fi and comic-book movies, there's little to distinguish it.

Grudge could have saved itself with a rousing finale, but the buildup is so tedious you just want the fight to end.

Preposterous, goofy and a clear ripoff of “Planes, Trains and Automobiles,” Identity still manages to make off with just enough laughs to work, thanks to the wondrous McCarthy, one of the few actresses in Hollywood allowed to showcase her wit and charisma as much as her physique.

It's no "Taxi Driver" or even "Open Water," but Route has enough attractions to warrant the trip.

You've never seen a movie like Sucker Punch. And depending on your entertainment preferences, you may not want to.

For added heehaws, the normally dependable Nick Swardson comes along to act the ass and delve into some of Sandler's more nuanced scatological humor.

Though it has flashes of promise, Bones traces the footsteps of its fantasy film predecessors too closely to blaze anything close to an original narrative.

Deafening, deadening and about two hours too long, Extinction would mark the weakest installment yet of the 7-year-old Hasbro franchise — if the previous three movies were discernible from one another.