Soren Andersen

“The Last Dance” brings nothing new to the series. In fact, it brings less than the previous two movies

The movie’s unrelenting sensory onslaught is exhausting. It’s torture to sit through.

By the end, it’s made glaringly obvious that the people who made Madame Web intended it to be the prelude to sequels featuring the three proto Spider-Women. Spare us.

The game, propelled by twitchy point-of-view camera work and abundant jump scares, is fast-paced. The movie is anything but.

A more self-impressed movie than Dicks: The Musical would be hard to imagine.

Although the sense of being inside a video game is strong, one critical element is lacking: interactivity. Players are always working their controllers to send characters on their complicated journeys. They’re participants. A movie, by its very nature, turns everyone into spectators. We watch, but have no control over what we see. And what we see in “The Super Mario Bros. Movie” is nothing more than empty-calorie visuals.

With scenes of epic destruction uncorked with numbing frequency, the picture drags. It’s two hours and 10 minutes long and you feel every last second.

“I’m tired.” — Overheard from a member of the audience at the end of the seemingly endless closing credit crawl at the critic’s screening for “Ant-Man and The Wasp: Quantumania.” - I hear you, lady. Believe me, I hear you.

Once it gets going, Black Adam feels like a continuous closed loop of destruction where the moments of mayhem blend darn near seamlessly one into the other. And those special effects look incredibly cheesy.

The whole picture is an exercise in obvious effort, try, try, trying really hard to win the audience’s affection. However it only succeeds in trying the audience’s patience. It’s a trial.

Elba, always a powerful presence in whatever role he takes on, does the best he can in Beast, but the threadbare nature of the plotting and dialogue ultimately defeats him.

As terrible as it is — and make no mistake, Moonfall is epically awful — it is also undeniably entertaining. A guilty pleasure, if you will. See it on the biggest screen you can. It’s a, er, riot.

The fight scenes, full of swordplay and gunfire, are choppily edited and somehow lackadaisical. It’s as though Schwentke was operating from a checklist of expected action-movie clichés and hurries through them all.

The first creature feature of the new decade is here, and boy is it dumb.

It’s got a flying carpet. It’s got an enchanted lamp. It’s got a shape-shifting genie. But alas, Aladdin lacks real magic.

The picture’s real weakness is that the reanimated dead display a great deal more vitality than the characters in their pre-killed state.

It seems director James Wan had one overarching goal in making “Aquaman.” His prime directive? Crush the audience into submission.

Mortal Engines hasn’t much in the way of originality, other than its rolling city, to distinguish it from other, better post-apocalyptic tales.

Zombies. Nazis. Clichés. Insane violence. Overlord delivers a whole lot of much too much.

A picture in the running for the dubious distinction of being perhaps the worst Marvel-derived origin story ever.

Director Malcolm D. Lee, whose previous movie, 2017’s raucous “Girls Trip,” gave Haddish her star-making breakout role, does her no favors here. In this mess of a movie, her performance is merely adequate. She, and the audience, deserve better.

Director Corin Hardy lards on the frights so relentlessly that the moments don’t build to any sort of sustained narrative momentum.

A joyless experience.

Watch this movie and you might die, of boredom.

Gringo has no spark, no fizz. Its scenes sag like overstretched taffy. Flavorless taffy.

As long as the third and, one hopes, final installment is, it feels even longer. There’s more of it, much more, yet paradoxically, much less.

[Neeson's] impressive physicality, (a tower among men), his rumbly basso-profundo voice and his impressive demeanor give him a natural gravity that allows him to rise above the most absurd material. And he does exactly that in The Commuter.

Only the super-speedy Flash, played by Ezra Miller, lightens up the proceedings. Miller’s goofy eager-beaver take on the character, very reminiscent of Tom Holland’s Spider-Man, is the picture’s saving grace.