As easy as it is to like Hank and Asha, it’s impossible to look past the many screenwriting and filmmaking flaws of the film about them.

If the film is a potluck stew of half-cooked notions, it's at least a tasty one.

Perhaps Wilson would have benefitted from the subtle method of Jaws, or even The Reef, by prioritizing teasing over showing. But here, the shark’s frequent appearances and unrealistic looks lessen the impact of the fear it’s supposed to spread, despite some truly unnerving camerawork by Tony O’Loughlan.

Neither the tacky ending nor the very existence of this second installment is earned. Instead, it languishes as the squeezing of the final drops of a once bright idea.

Five Nights in Maine is as evasive as a corrupt politician. Its coyness about what’s truly in its heart of darkness is either cowardly or lazy, or some measure of both.

It’s amusingly slick and mean for a while, but ultimately the film’s one-note nihilism grows numbing, and its stylish visuals and well-chosen soundtrack can only do so much to keep it lively.

If you ever wanted to see a wartime movie that feels directed by a kinder, gentler Michael Bay, Come What May is right up your alley. It plays like a more cultured — and very French — version of “Pearl Harbor," complete with bad CGI battle sequences, jaw-dropping plot coincidences, over-the-top nationalistic gestures and dialogue that often sounds swiped from a soap opera.

It is baffling to discover that for her third directorial effort, By the Sea, she has produced a film that is such a borderline unendurable exercise in vapid self-indulgence that it almost feels like an exceptionally straight-faced parody of empty-headed star vehicles.

A video game movie that encourages creation instead of just uplifting capitalism? That’s a small victory in 2025.

There’s trash, and then there’s good trash. Unforgettable falls into the latter category. Slick, glossy and radiating juicy villainy, it knows exactly what kind of movie it is and goes for it with giddy abandon.

Green, who plays a snotty version of himself, doesn't follow through on any of the ideas that make his film stand out. As a result, Digging Up the Marrow just uselessly lies there, like a cat during a heat wave.

Maybe this is a product of the movie’s nature as an adaptation, but there’s never really a moment in There’s Someone Inside Your House that suggests its protagonists are real enough to be worth rooting for.

Just like the titular vehicle, the movie sputters along toward its intended (and entirely predictable) destination. Even having tremendous actors like Sutherland and Mirren in the front seat can’t enliven this vacation.

While Canet's direction can't be said to be all over the place, the movie never settles into the groove it so dearly aspires to.

Whether it's the wealth of meta-cinematic references to both Shetty's and Khan's other work, or the evolving romance between Khan and Padukone, or the handsomely mounted action, or the occasionally excellent songs, Chennai Express always has something up its sleeve.

Simply put, this is one of the craziest films to come along in a while and I can confidently say that anyone who sees it will either hail it is some kind of crackpot masterpiece or dismiss it as one of the silliest damn things they've ever seen.

So much of the needlessly complicated and rules-driven action inside the park plays like wasted motion, visually as well as narratively speaking.

Well, if there’s one positive thing to say about Brimstone, it’s that it doesn’t lack for lunatic ambition.

Very little about this movie works, in spite of a certain ambition in telling a story based solely on unfathomable decisions.

The cast's heroic exertions fail to save Flower from its own worst tendencies.

Blood Glacier is too sleepy to do anything with its guano-stirring premise. Yes, there are crazy-go-nutty monsters in the film, but you seldom get to see them as they sadly are not the focus of Blood Glacier.

Even by the standards of this franchise—and this genre in general—Step Up All In is pretty laughable.

Director and co-writer Jessica M. Thompson establishes an unsettling mood that suggests we’re about to enter a dark and twisted world. But then eventually, her film is just dark – as in, it’s hard to see what’s happening, with herky-jerky visual effects that are especially off-putting. And when the twist comes as to what’s actually going on, it’s like: Really? That’s it?

At 90 minutes, one could hardly fault "Doctor Jekyll" for being languorous. But it's often too patient for its own good, content to slow-roll its inevitable outcome without giving us much to chew on besides Izzard and some cornflakes.

The Prodigy doesn't work because Buhler's scenario is too predictable to be involving and McCarthy's direction is too indecisive to be gripping. One of these two problems might have been surmountable, but both, at the same time, is lethal.

The crime comedy Pixie dissolves in the mind as you're watching it. You've seen it before. And the "it" you've seen before is the most derivative version of "it."

To call Clint Eastwood's The 15:17 to Paris a mixed bag would be generous. It packs all the wild action you came to see into a 20-minute stretch near the end, and elsewhere gives us something like a platonic buddy version of Richard Linklater's "Before" trilogy.

A slight but not-unengaging Young Person’s Romantic Comedy.