This movie isn't afraid of venturing into the realm of bad taste -- in fact, it revels in it.

The 2018 Death Wish has been developed with a specific audience in mind – those who enjoy these kinds of thoughtlessly violent outings. The direction is workmanlike, although without the flourishes that have added some visual razzle-dazzle to similar orgies of brutality like "John Wick" and its sequel.

The movie is a pointless retread with nothing to recommend it beyond McShane’s commanding presence.

A failure on pretty much every level, Hounddog would never have been known beyond Park City had it not been for the notoriety surrounding the rape scene.

It's remarkably appropriate that Envy is about turds, because that's what the movie is.

Monster-in-Law is appalling misfire of a comedy - a motion picture that takes a situation ripe for the blackest vein of satire and reduces it to a puerile and edgeless pile of goo

Affable, but, as something with more ambition, it disappoints. Herek has once again found the feel-good path to mediocrity.

A delightfully loopy comedy about the hijinks that occur when families collide.

The best segments of the film occur early, as the setting is established with a dose of "Friday Night Lights" normalcy followed by an invasion that recalls "Independence Day."

To succeed, Deception requires viewers to be both inattentive and stupid. There's not a twist in this flimsy and moth-eaten plot that isn't both contrived and transparent and not a character who hasn't been hopelessly manipulated by the needs of the narrative.

There is a perverse enjoyment to be had from something this cheesy, although not enough of one that I can recommend sitting through it. Still, as bad as Creature is, it can be fun, although the level of enjoyment is probably in direct proportion to the viewer's level of intoxication.

What's missing from Blended? Two key ingredients: it doesn't touch the heart and it doesn't tickle the funny bone (at least not often enough).

Despite a few effective “gotcha!” moments and Pegg’s performance, the movie is too artificial and undercooked to work. Logic and consistency are often overlooked qualities in today’s cinema but when they’re ignored to this degree, their absence is noticed.

Lawrence is often more irritating than funny, and it doesn't help that the direction is pedestrian and the screenplay dismal.

There's hardly an area in which Hot Pursuit is not found lacking. The comedy is unfunny with joke after joke falling painfully flat.

Okay, there are worse movies out there, but I'm hard-pressed to figure out why I'd waste my time and money watching something that's a half-baked retread of better movies I can stream from Netflix.

Suspension of disbelief is an oh-so-tricky hurdle for a movie like this to overcome and The Book of Henry fails to achieve it.

Feels perfunctory and obligatory and, despite the return of several familiar characters, is more like an afterthought than an organic third piece of a trilogy puzzle.

There's just one problem: it's not scary and it's not funny...Idle Hands transcends that mundane level of badness into the realm of gross ineptitude.

The picture is neither flawless nor foolproof, but it's smart and tight enough to keep audiences off-balance and entertained for the running length.

On a purely narrative level, Winter's Tale missteps early and often. Its earnestness is its downfall, resulting in opportunities for unintentional humor.

Several strokes short of a respectable finish.

This feel-good motion picture is intelligently written and expertly directed.

Although the problem lies primarily in the difficulties associated with condensing an epic tale into a short-ish movie, the lack of elegance with which that is accomplished makes Artemis Fowl a failure for anyone hoping for the next great fantasy film.

Sanders, however, has taken a deep dive into the world of pretentious horror, where every killing has to be as stylized as it is gory. His characters have no humanity, his romance has no sizzle, and the whole thing turns into a slog where style overwhelms substance to such a degree that there’s too little left of the latter to matter.

By-the-numbers, generic plots no longer work and that, unfortunately, is what Seventh Son delivers. Impressive set design and visuals, excessive CGI, and a loud score from Marco Beltrami can't fully compensate for bland character development and a predictable narrative that rushes along on a linear trajectory.

There's nothing in Alex Cross that argues another installment is warranted, but much will depend on whether Tyler Perry's audience crosses over and continues to follow him in this new, very different role.

This is essentially a Steven Seagal movie without the Ponytailed One, and may appeal to those who enjoyed Seagal's rather bland, cookie-cutter action films.