Lionsgate
Heady problems My Days of Mercy’s characters through the wringer, but the clarity with which they are captured makes the difficult journey more poignant.
Long Shot is a tight, funny, and warm comedy with a ton of heart and two fantastic performances at its center.
With the most creative kills anywhere, a deeper mythology, and great additions to the cast, John Wick: Chapter 3 – Parabellum is even more deadly and enjoyable.
A rare superhero movie that highlights the ordinary alongside the extraordinary, Fast Color is a bold and breathtaking spin on the genre that deserves to be seen as widely as any movie released under the Marvel banner.
Hellboy is an unfortunate example of how a R-rated superhero film could go wrong. It’s violent, but to a fault, lacking humor, substance, or a compelling story to go along with it.
Red Joan is suffocatingly mediocre, a political thriller with no interest in the politics of the story, or anything remotely thrilling.
We Die Young has sporadic moments of action greatness, but feels overlong even with a brisk 90 minute runtime.
A Madea Family Funeral is a message we need to hear, but sadly, the Hallelujah’s don’t come until the credits.
The Kid, directed by Vincent D’Onofrio and written by Andrew Lanham, is a take on…
Fighting With My Family is a lovely little British gem and while it’s not perfect, Merchant shows admirable potential as a director.
Despite its eclectic performances, The Vanishing is a snail-paced buildup to real action and suspense that doesn’t have enough substance to give the narrative some weight.
Backtrace is too ridiculous and underwritten to be a full-fledged crime thriller and too self-serious to be an enjoyable B-movie.
While not quite as offensive as Gotti, Speed Kills is just as disposable, with Travolta yet again starring in an incompetent and unimaginative feature.
Robin Hood seems to have a set of requirements to meet, and it gives the bare minimum when meeting them.