The big shift between Carpenter's B-movie and filmmaker Jean-François Richet's comic book-style remake is that instead of a troop of bloodthirsty gang members encircling the precinct, the bad guys here all look like good guys.

Bad Company would just be another silly, intermittently funny, buddy comedy (Anthony Hopkins is Rock's training agent) were it not for a plot unlaughably close to current events.

An airless, bilious, endless pageant of pseudohistory.

Despite Angela's skills - and Bullock's charms - director Irwin Winkler's film is so pedestrian that his movie has all the thrills of a school crossing.

Despite the appeal of cobra-eyed Thornton and bunny-nosed Heder, Scoundrels trips early, and often.

Even though it's all preliminaries, no main event, Grudge Match is harmless enough as entertainment. Just not as harmless as its poor protagonists.

High-Rise feels like a throwback to a time when this kind of social commentary, in literature and film, seemed shocking and true. Not sure whether it's progress to say that in 2016, High-Rise doesn't shock at all.

Cutesy and formulaic and has the approximate depth of a cookie sheet.

A horror pic with a new gimmick that likely will spawn an entire subgenre of more substandard rubbish.

Thornton swills the Matthau role with the unslakable thirst of W.C. Fields and idiosyncratic sexuality of Johnny Depp. So this is what Bad Santa does during the off-season.

Alas, Brick, from writer-director Rian Johnson, isn't as clever as its conceit.

The constant flipping between stagecraft and reality creates a dissonant static that prevents any satisfying connection with the film.

Eva Longoria brings a crisp swagger and fluent Spanish to her role.

The problem with NATM:BOTS is that Stiller, Adams, and company seem to be pretending that they're having fun, too.

Am I crazy, or are Spring Breakers and "Oz the Great and Powerful" essentially the same movie? James Franco stars in both - a tattooed, gun-totin' gangsta in one, a charlatan magician in the other (you figure out which is which), and, in both, he's encircled by a bevy of Hollywood babes determined either to get witchy on him, or get that other witchy-rhyming word on him.

Almost certainly, The Last Stand will not be Schwarzenegger's last. For better or for worse (and this is somewhere right in the middle), he is back.

The Woman in Black has lovely period atmosphere. Unfortunately, it doesn't have much else besides atmosphere.

The film feels long, the editing is choppy, and the plot strands are at once convoluted and cliched.

Much of the dialogue is the silliest sort of fantasy mush, and a good deal of the picture appears to have been shot while the lighting guys were out to lunch.

Despite excellent elements - great actress, taut plot, slick visuals - Flightplan is like airplane food. No matter how good the ingredients the air chef has to work with, the entree inevitably ends up tasting like a Xerox of a facsimile of a meal.

Rian Johnson's film is a scam wrapped in a sham.

Never mind the facts. True Story, slick and shaky, doesn't know where the truth lies.

While the plot is dumb and the script is worse, watching aliens explode in spectacular fashion isn't the worst excuse to spend to two hours in air-conditioning.

While Flipper doesn't exactly arrive dead in the water, the latest installment in that saga of America's most beloved bottlenose could be dubbed Flopper. [17 May 1996, p.03]

Scafaria's movie never catches fire. The bad news: The end of the world comes with a whimper. Worse: And two wimps.

Cobbled together from memorable parts of Allen's own (not to mention Hitchcock's) classics, Scoop doesn't establish its own identity.

Hemsworth, who is Gale Hawthorne in "The Hunger Games" and the brother of the Hemsworth who stars as "Thor", has maybe one arrow in his acting quiver - he can look engaged.

A mildly charming, if singularly unoriginal, comedy.