A film that is not so much bad — although it is quite bad — as it is utterly inexplicable.

You will never realize how much you need Guillermo del Toro in your life until you see the reboot of “Hellboy.”

Bleeding Steel is also unfortunately just one film in a string of lackluster globe-trotting action films that struggle to confirm Chan's decades-old self-image as a pop cultural ambassador.

This is the same "young man's coming-of-age story" you’ve seen over and over. Nothing new has been added. The poster calls this “a feel good movie,” but who is supposed to feel good here? Certainly not the average viewer, who has seen this tired material so many times they can practically recite the dialogue.

You can’t make a movie called Monster Hunter that’s boring to look at it, and this is one of Anderson's flattest films in every way.

Come for the murky action, and stay for the shudder-inducing feeling of nostalgia for Mao's Cultural Revolution. It's a very odd movie, indeed.

The film is quite repetitive, essentially a very long sketch, and offers little in the way of character development for supporting players. In contrast to the original "The Office," everyone else is there mainly to stare in shock at David as he offends people or does something stupid.

While I appreciate writer/director/Canadian horror slinger Lowell Dean for helming a thriller where the most sensible, resilient characters are either dark-skinned or an ally to dark-skinned folk, the rest of the movie ain’t that deep. In fact, it’s insanely clumsy.

The main takeaway from War of the Worlds Goliath is that such a yearning still burns in some folks. If its articulation here were more compelling, it might have struck me as stirring rather than merely odd.

A strange little movie that attempts the tricky feat of combining comedy, drama, sci-fi and romance, but it doesn’t get those individual elements right so it never coheres as a whole.

I wanted to root for and care about the world of “Night Raiders,” but I never felt like Niska and her daughter said more about themselves than their predictable behavior advertised.

Unfortunately, Mary's concept - and it's a good one! - doesn't blossom into the truly spooky, the truly eerie, even though it's given countless chances to do so.

The latest animated blockbuster from Illumination is their most soulless to date, a film that feels like ChatGPT produced it after data and imagery from the games were fed into a computer.

This new holiday chiller mostly idles when it should charge at its most unsound ideas.

It’s all just really bizarre, limp copies of better films.

Worse still: because The Emperor's New Clothes is often beholden to the whims of Brand (star of "Get Him to the Greek," and that tedious "Arthur" remake nobody saw), it too often feels like "Button-Pushing Encounters with Russell Brand."

Bland and bordering on nonsensical, Haunt trots out all the standard haunted-house tropes without breathing any new life into them.

The Scribbler never clicks into the escapist mind f**k it really needed to be to work. It can't maintain its style and never finds its substance.

A frustratingly inert film in every way, The Beanie Bubble has no POV and nothing to say.

There is little else worth mentioning about this derivative, clunky, haphazardly written and visually dull sports movie except the performances by Christopher McDonald and Michael Nouri.

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.

As for Paxton, he enters the story with an edge, establishing the authority and revealing sensitivity of a single father with a powerful job. It’s not a career-topping role by any means but it is a reminder of how the late actor could take on a role with sincerity and breathe some type of life into it.

You’ve got to lower the bar for a cliche-at-best thriller like Survive the Night. If it keeps you awake, consider that a success.

Absolute Dominion is a high-concept sci-fi flick whose many pieces move but rarely settle in satisfying positions.

For the most part, A Farewell to Fools rollicks along on its own bizarre and not successful path, comedic moments falling flat, emotional moments running shallow, but in that moment we can feel something else striving to break free.

The kind of lazy genre hackwork that will inspire more yawns than screams—at least until the final reels, when the sounds of incredulous laughter will no doubt take over.

It lacks both the delicate artistry and warm wit of its predecessors. The subtle sense of spirituality is long gone; in its place are frantic action sequences. Whereas the previous movies operated on various levels to resonate with adults and entertain kids, this one is geared mainly toward younger audiences in ways that are frequently silly and insubstantial.

It’s just a flat and suspense-free tale of pretty people in peril.