William Bibbiani

The Prodigy may offer some shocks to those susceptible to this genre, or who have never seen it before, but to horror fans it will probably seem unremarkable and even bland.

The Rhythm Section takes well-worn genre material and removes all the substance and ingenuity, leaving behind only an undeveloped plot, a blank main character, and a sense of gravitas that is entirely unearned.

Writer-director Rockaway (“The Abandoned”) hits all the major bullet points in the gangster’s life but ignores almost all the connective tissue that would make this outline of intriguing anecdotes really come alive.

Reitman’s direction may be sharp and professional, but that’s only in the service of familiar material, so it falls to an excellent cast to make the most of a very repetitive situation.

Although the film takes place in a dystopian near future, the story rarely reveals any meaningful information about how society functions after an environmental collapse, or indeed portrays hardly any scene as though it could take place only within the confines of Mondocane.

We watch The Parenting in blasé curiosity, as we engage in the purely intellectual exercise of sussing out what’s gone wrong.

It’s hard not to feel a bit scammed, like you just bought a brand-new AAA game and found out most of its content is still locked behind an additional paywall.

Screamboat' is not a great movie by any stretch but if Ricky Jay was editing this footage in a scene from 'Boogie Nights,' he’d have to turn to Burt Reynolds and admit: 'It’s a real film.'

There’s nothing really to recommend The Union except the fact that it exists and you can watch it. It’s a harmless waste of time because it’s a serious waste of a good idea.

The problem is that not enough of the fun rubs off on us, the audience, to make this experience truly worthwhile.

Taylor envisions a 'Hellboy' where the horror matters more than the humor or poetry or romance or even the good vibes, and he’s made a film that proves his take is valid.

It takes a farcical premise and tries to find something meaningful to say about it. It doesn’t succeed, but the effort is worth analyzing.

It’s an overpowering world of steampunk delights, almost Miyazakian in its presentation. It’s hard to complain about a path being well-worn when all the sights will make your eyes pop.

These above average, slightly forgettable movies may not live forever, but Theron’s badassery might.

The Gates' is constantly on the verge of getting better, sometimes on the verge of getting good, but it never quite gets there. It’s a missed opportunity for thrills, social commentary, humor and/or horror.

“Welcome to Raccoon City” overstuffs itself with so many characters and plot points that nothing has room to develop. The pretty-good cast gets buried alive in a rushed and ill-conceived screenplay, and it doesn’t help that the film is murkily photographed and tonally dreary.

A deft combination of excitement and thoughtfulness, an excellent and unexpected film.

It just never goes far enough with its ridiculousness to reach pure entertainment, and it certainly can’t be taken seriously enough to justify its melodrama.

The Girl in the Spider’s Web is such an absorbing airplane novel of a movie that you half expect to walk out of the theater and into O’Hare International. Your flight was on time, and the turbulence was totally badass.

It’s almost worth watching for Zac Efron and Nicole Kidman’s magnetism alone. If by 'almost' you mean 'not really.

It’s a pat retread of all the violence from the original film, with no emotional investment and no creativity in the mayhem department.

Michael Damian’s film has no nutritional value, but that’s by design: It’s a flaky dessert for the mind, and it’s irresistibly decadent.

I admire you for trying to make it work, A Big Bold Beautiful Journey, but I think we should both see other films.

Tells the story of Amy Winehouse but shows no passion in telling it and has nothing to say about the events that transpire. It’s the utter minimum of what a biopic can be.

It’s just a disappointingly average superhero flick, with a familiar story, disinterested actors, some cool action sequences, and a whole lot of missed opportunities.

The drama is muddled, the action is murky, and the storyline can’t help but get goofier and goofier until, by the end, every attempt this movie makes to ground the “G.I. Joe” series gets blown up. It’s hardly the worst film the “G.I. Joe” series has delivered, but it’s certainly the least interesting.

This new Anaconda is so busy talking about how silly it is to make a new Anaconda that it never actually makes a good 'Anaconda.

If you thought Jerry Seinfeld’s funniest moments were in his American Express ads, then Unfrosted is the film for you.