While The Expendables 3 is a better film in most technical regards, it’s lost the goofy charm and rough edges that made the first two Expendables fun
Magic in the Moonlight is a lightweight piece of Woody Allen fluff with precious little magic or moonlight.
Into the Storm is certainly goofier than any Roland Emmerich disaster movie – and that’s saying something.
Director Miroslav Krobot combines elements of biting satire with droll comedy in Nowhere in Moravia (Díra u Hanušovic)
Deliver Us from Evil is a collection of possession-movie clichés that fails to grab us on anything more than a superficial level
The Fault in Our Stars tells the heart-wrenching story of two teenage cancer patients who fall in love
Neighbors is an inexplicably well-reviewed comedy that strings together a series of mean-spirited gross-out gags in lieu of an actual story
The Other Woman is not the film the trailers were selling. Not entirely, anyway, and not from the word go.
Brick Mansions, is just passable action fare for the undemanding; you could do far worse for some brainless late-night thrills
An erupting volcano is the least dramatic thing to happen in director Paul W.S. Anderson’s Pompeii, a mashup of various movie clichés
A decade after Chan-wook Park’s original Oldboy, the remake has finally hit with a most unusual choice for director: Spike Lee
The Factory tells the story of Gary Heidnik, a serial killer who kidnapped six women in Pennsylvania in 1986-7 and kept them captive
Thor: The Dark World gets that mostly right, too, and exhibits (in spurts) the same goofy charm of the original
If there’s one reason to see Machete Kills, it’s Mel Gibson’s loopy performance as a cult leader and supervillain
There’s one sequence any Carrie adaptation/remake needs to nail: the violent prom night climax
James DeMonaco’s The Purge starts out with an idiotic, far-fetched premise and continues to stretch our credibility
Red 2 is better written and staged than its predecessor, lighter and funnier, with more coherent action scenes and an expanded cast
Violet & Daisy is the kind of Tarantino-esque Pulp Fiction “cool” riff they just don’t make any more – and for good reason
The Last Temptation of Superman
The Hangover Part III opens with a showstopper that sets the tone for the rest of the film, but then dissolves into the usual
Great premise, good performers, solid direction from Seth Gordon… where did Identity Thief go wrong?
Dark Skies is the kind of cliché-ridden junk that has feels like it came straight form the assembly line, but its ending must be seen to be believed
G.I. Joe: Retaliation is the cinematic equivalent of a boy mashing together his plastic action figure toys
Hansel & Gretel: Witch Hunters takes roughly the same concept as The Brothers Grimm, aims lower, and hits a bullseye