Todd Gilchrist

Hurry Up Tomorrow bears all the signs of pop star hubris masquerading as artistic candor, despite game performances by Jenna Ortega and Barry Keogan to prop up the budding thespian.

A crude, unimaginative, suspenseless adventure whose tension mostly derives from deciding which of its three main characters will prove the most unlikable by the time it ends.

Atlas is predictable, overlong and bland, the kind of experience it’s hard to get excited about when the star player seems to be perfunctorily running the bases.

Set in a world where every door creaks and there isn’t a single well-lit location, Tarot is little more than a clearinghouse of horror clichés.

Director Calmatic’s 2023 remake not only fails to recapture the energy of the first film but seems to misunderstand the cinematic language of streetball, and is largely uninterested in utilizing stars Sinqua Walls and Jack Harlow except as delivery systems for exposition.

Like “Soul Surfer” before it, On a Wing and a Prayer clearly aims to appeal to audiences seeking faith-based entertainment; but just because its story is based on events that are technically true, that doesn’t mean that ticket buyers should be subjected to a version of them that’s executed too predictably to believe.

Leitch’s talky, violent hit man movie, with Brad Pitt at the center of an over-cranked ensemble cast, reminds us why Hollywood has all but abandoned attempts to copy the successes of Tarantino and Ritchie. This film is not just bloated, tedious, dim-witted, and glib, it’s also redundant.

There are four or five “so preoccupied with whether they could, they didn’t stop to think if they should” jokes to make here that would suffice as a perfect encapsulation not only of this film, but of the totality of the franchise, but suffice it to say you would be better served by going outside and using your imagination to explore dinosaur-themed ideas than watching how these people spent the hundreds of millions of dollars at their disposal to use theirs.

The Grudge 2020 is a prestige drama sidelined by lackluster, incoherent horror, ruining the scares and undercutting the humanity of its characters.

There may be no more unexpected (or damning) faint praise for David Ayer’s new movie Bright than this: It made me wish I was watching “Suicide Squad” instead.

Leatherface is second only to Rob Zombie’s “Halloween” remake in horror’s pantheon of terrible origin stories.