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There’s only one way to explain that the same filmmaker who made Dark City and The Crow also directed this chaotic mess of computer-generated imagery and bewildering plot points that leaves viewers scratching their heads in disbelief: body snatchers.

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The film showcases the human side of these inmates, offering an insight into their lives that extends beyond their criminal actions.

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They should have called this one The Same Omen instead, because that’s exactly what it is: more of the same, only nowhere near as good as it once was a long time ago.

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Sasquatch Sunset makes you yearn for the comparatively sophisticated comic sensibility of Harry and the Hendersons (the movie and the TV show).

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The Way Back was a return to form for Ben Affleck following an aimless second half of the previous decade — specifically his ill-advised stint in the DC Universe.

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Bionic posits the question, what would happen to athletics as we know it if robotics could make the ‘para’ in Paralympics go from ‘beside’ to ‘beyond’? Unfortunately, the answer is irrelevant.

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In Waiting for the Barbarians’ Colonel Joll, Johnny Depp has crafted a great movie villain: as proto-Nazi, colonial Darth Vader.

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As early as the early 17th century, Cervantes remarked that sequels were never any good. Sometimes, though, they are marginally less bad, which is the case of Trilogy of Terror II vis-à-vis Trilogy of Terror.

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Rattle and Hum remains a crucial piece in understanding U2’s journey towards becoming one of the most iconic acts in music history.

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The Ministry of Ungentlemanly Warfare claims to be “based on a true story.” If by “true story” they meant “Inglorious Basterds by way of Kingsman,” then I agree 100%.

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This adaptation of Anna Karenina may have Leo Tolstoy rolling over in his grave, but it certainly goes quite a ways in attuning us to the heroine’s warped mental state.

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In Carlito’s Way, Al Pacino warns us that “a favor’s gonna kill you faster than a bullet.” In Chinese Coffee we see a figurative interpretation of what he meant by that.

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Even though Metal Evolution fishes in relatively shallow waters, it does cast a wide net. That’s why its title is misleading.

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Golden Kamuy is as entertaining as a protracted trailer for its own sequel can be.

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Arthur the King may be the single phoniest so-called “true story” about a man and his dog ever. That covers a lot of ground, although not as much as the titular pooch does in this pseudo-biographical tall tale. Even a shaggy dog wouldn’t swallow this baloney.

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Three Months is such a sweet, touching little film that I wish the script didn’t make the hero ride around solo on a tandem bike.

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The Treasure of the Sierra Madre is a film whose pleasures lie not in what happens so much as how it happens.

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After We Collided is much more lubricious than Twilight, but a lot less risqué than 50 Shades — that is, there’s lots of implied sex but very little nudity.

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The original The Texas Chainsaw Massacre predated the original Halloween by four years, but now it’s the former’s turn to follow in the latter’s footsteps, resulting in a case of the blind leading the blind.

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These vampires should consider turning into zombies, because eating someone’s brain is the closest they’ll ever get to having one.
   
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