Adam Sandler and Drew Barrymore reteam for a comedy that’s just good enough to be better than everything else Sandler does nowadays.
The life and times of ‘Star Trek’ co-star and gay rights activist George Takei are the subject of an endearing new documentary.
Despite having a unique message, When the Game Stands Tall is pretty boring stuff.
The latest Frank Miller adaptation is itself a femme fatale. That’s not a compliment.
Ethereal performances by Tom Hiddleston and Tilda Swinton make Only Lovers Left Alive a great introduction to Jim Jarmusch.
Damon Wayans Jr. and Jake Johnson pretend to be cops. They should have pretended to be funnier.
Jeff Bridges and Brenton Thwaites star in a teen sci-fi movie that’s got more brains than thrills.
A movie about Tom Hardy in a car – and that’s it – turns out to be more complex than you’d imagine, especially after watching the Blu-ray special features.
The charming pseudo-sequel to Mary Poppins arrives on home video in a classy home video release that includes the famous deleted scenes.
The Muppets are back in a movie with great jokes but low production values and half-baked ideas.
Jason Schwartzman plays ‘one of cinema’s most magnificent a-holes’ in a drama with serious technical problems.
The tornado effects are impressive, but the hokey characters and found footage gimmicks blow.
The presentation is dauntless, but we have to be candor about the lackluster special features.
The Expendables 3 may very well be the best Expendables yet. But there still isn’t enough Jet Li.
The new Teenage Mutant Ninja Turtles movie is stuck in a state of arrested development.
Chadwick Boseman please, please, pleases in a groovy new James Brown biopic, told out of order.
The Rock was created by the Movie Gods to play Hercules, but director Brett Ratner softens that decree by trying to prove he’s human.
James Gunn’s superhero space opera is an old story with a fresh new vibe.
Rob Reiner’s new film is a harmless — but boring — reconstruction of As Good As It Gets from the co-writer of As Good As It Gets.
Philip Seymour Hoffman gives one of his last – and best – performances in a superior, intelligent spy story.