Porno belongs in the “hot and murderous butt nekkid lady” sub-genre of horror alongside “Species,” “Lifeforce,” and the film it shares its villain with, “Def by Temptation.” Like that 1990 Troma movie, this horror-comedy details the exploits of a succubus, a female demon who tempts men to their own destruction via the deadly sin known as lust.

Jane Got a Gun has its good points and less demanding fans of the Western genre may find some value in it, especially considering how few films of its type actually get made these days.

On its surface, “Onlookers” is a movie that can be described very simply. For about an hour and twenty minutes, a series of very neatly composed shots depict natives of Laos and tourists observing a variety of sights and sites.

Set in 1967 Ireland, The Miracle Club stars three powerhouse Oscar-winning and/or nominated actresses (none of whom are Irish) and features period clothing and cars, sweeping cinematography, location-shooting, and a heartwarming message, where each character gets a satisfying arc. Cliches work for a reason.

The film will play well among standup comics who feel they've been muzzled by humorless slogan-spouting liberals, bluenoses and the generally squeamish.

There are some nice lessons about confidence and teamwork, a more-funny-than-scary villain, and impressive guest stars voicing minor characters, including Kristen Bell, James Marsden, Lil Rel Howery, and Kim Kardashian (as a pampered poodle social media star) and her children.

And yet, while it does not really work — at least not enough to warrant a full recommendation — it is one of those films where some of the stuff that did work was good enough to inspire me to hold out hope practically right up to the closing moments that it would all somehow all pay off in the end.

Bohemian Rhapsody is bad in the way a lot of biopics are bad: it's superficial, it avoids complexity, and the narrative has a connect-the-dots quality. This kind of badness, while annoying, is relatively benign. However, the attitude towards Mercury's sexual expression is the opposite of benign.

Millers in Marriage isn’t a science fiction movie. Which is unfortunate, because if it were, we might’ve gotten a decent explanation for why one minute of the characters’ lives makes you feel as if you’ve aged a month.

Misguided effort to once more stage the fateful stormy summer night at Lord Byron’s Lake Geneva villa in 1816 that would give birth to a tale that continues to spark our imaginations today.

A successful franchise depends on the hero at its center. Is the hero's personality interesting enough to warrant more? Time will tell, but Falcon Rising is off to a good start.

The film's promising setup and excellent cast are let down by a script so forgettable that even to try to summarize it is to feel it dissolve from memory.

Bullet Train is at its best when it's a comedy about self-styled badasses who think they're free agents but are really all just passengers on a train rocketing from one station to another, oblivious to the desires of any individual riding on it. The abstractness and "it's all a lark" humor ultimately undo any aspect that might otherwise sink its roots into the viewer's mind.

Y2K doesn't want to break stuff; it wants to dig it out of the trash and pine nostalgically for it. That's just not as interesting.

Daniela Forever, Nacho Vigalondo’s first film since his excellent “Colossal,” eight years ago, is a baffling disappointment, a sci-fi mindbender with echoes of “Eternal Sunshine of the Spotless Mind” and “Inception,” but no idea what to do with its many ideas or what it’s ultimately trying to say.

Alas, David O. Russell has concocted all manner of adventures and detours, wacky hijinks, and elaborate asides to occupy his actors, none of which is nearly as clever or charming as he seems to think.

Django is for the most part everything Reinhardt’s music was not: listless, glum and meandering.

Every movie, even a remake, deserves to be viewed on its own merits. But that’s easier stated than done when you have a film like Downhill, a largely inferior American knockoff that's far less dynamic than the 2014 dark comedy it's based on.

Unfortunately, Words and Pictures fails at portraying both titular nouns.

There’s a big meaning to all of this, and yet the movie can’t eloquently express it, even though the metaphor is in the title.

The Cellar doesn't even need to be a smarter or even more faithful homage. All it needs to be is a little more of something—energetic, gross, thoughtful ... something!—to make it compelling enough to withstand comparisons to its many generic precedents.

Unfortunately, the film never finds a way into Berg's personality that explores his many facets without reducing him to a blank-slate character at the center of a traditionally-made period thriller.

Whittaker’s performance finds a balance between the tragic and comic scenarios her character experiences.

Hall and Martin do their considerable best, but Rae's April is the far more interesting character.

Like so many horror films in recent years, V/H/S/2 appears more lightweight the more it tries to impress with its inventiveness and grotesquerie.

It’s a harmless animated adventure that will provide a bland diversion to young viewers.

Really, whatever you do, don't watch "The Last Key" without the emotional support of a buddy who can confirm that you're not just imagining this: these movies are still getting incrementally better.

Reminders of Him is so preoccupied with tragedy that the romance becomes secondary. Now, after our third Hoover adaptation, it feels like we’re getting love with diminishing returns. There’s less to enjoy, even if the movie is almost two hours long.