action
Venom is a film with a myriad of problems, but they’re forgiven because of its affable undercutting of what you expect from superhero films.
The Predator is a brainless, tone deaf picture, that is quite easily the worst thing writer/director Shane Black has ever laid his hands on.
A hard pill to swallow, Assassination Nation is a blunt, antagonistic, but masterful film, guided by a director who can so easily weave in between political horror, social injustice, dark comedy, and teen comedy.
Unfortunately, 1992’s Sidekicks, which is a vehicle to show Chuck Norris as the greatest action star, is a sloppy project for his talents.
Patient Zero has many of the elements of a good movie, just put together in a janky and unfortunate manner.
Disappointingly, Peppermint is a film that feels thrown together, poorly edited and overly clichéd, with a failed take on the female vigilante.
Let the Corpses Tan is an exhilarating and original work of wild genius that we’ve come to expect from directors Hélène Cattet and Bruno Forzani.
Mandy continues to establish Cosmatos’ many predilections as a visual stylist and storyteller, albeit in a significantly more successful package.
If you need to take a break from reading about all of the acclaimed films you’re missing out on seeing at all of fall’s prestigious film festivals, go ahead and watch Final Score.
Kin is a meandering road saga, filled with detours and dull patches and an ending that is both truly bizarre and unintentionally funny.
Team WahlBerg’s latest effort Mile 22 is abysmal, wasting the talents of all parties involved for a schlocky, aggressive shoot ‘em up picture.
Bleeding Steel is a chaotic and extravagant attempt to imitate the futuristic settings of other box office fare of its time, which only highlighted the throwback quality of the central character.
The Meg is not a masterpiece, but it is a perfect Jason Statham vehicle: packed with action and still a ton of fun.
Even with a good hook, How It Ends suffers from lack of vision becoming just a series of scenes that rarely congeals into anything substantial.
There’s certainly fun to be had with this deeply silly slice of R-rated raunchiness, yet The Spy Who Dumped Me struggles to balance its crass brand of humor with shocking bursts of carnage.