Christian Hamaker

Consider this film entertainment with a moral dimension, but also as a sign of how far our standards have fallen as a society.

In this lukewarm and predictable story based on a Nicholas Sparks romance novel, The Lucky One delivers almost zero surprises.

Donald Miller’s story might strike you as an unsurprising entry among the tales told by Christians critical of the church.

American Reunion is about what you’d expect—a teen sex comedy about characters that long ago left their teenage years behind.

This sequel is much improved over its abysmal predecessor, but fails to generate enough human interest to make it worth seeing.

We don’t much care about the characters and wonder if these “works of progress” are actually regressing instead.

The story never quite comes together in the big-budget John Carter, leaving a dissatisfying sense of what might have been.

The strengths of the film taper out as it shifts toward a bland message about “faith” and a few Zen-like scenes of fly fishing.

Call it what you will, this is a stirring, patriotic depiction of men who carry out dangerous missions on behalf of their country.

The laughs in Wanderlust are largely in the service of bawdy, R-rated material that makes this film difficult to recommend.

Small people with big hopes make up The Secret Life of Arrietty. Give it a chance, and it will enhance your sense of wonder.

Directed by Ralph Fiennes, Coriolanus is a gripping, cinematic take on one of Shakespeare’s less frequently performed plays.

Shaky-camera syndrome has taken hold of today’s action movies. And Safe House, directed by Daniel Espinosa, is no different.

Madonna and co-writer Alex Keshishian want us to care deeply, but the stakes laid out early in W.E. are poorly developed.

The Woman in Black, Daniel Radcliffe’s first starring role since the Harry Potter films, offers few moments of genuine fright.

Why do you go to the movies? To have a good time? To escape? To forget the worries of the day? If so, skip Man on a Ledge.

Director Steven Soderbergh leaves the art house far behind for this well-executed action film of a private contractor wronged.

Character conflicts have a disappointingly generic quality, while the humorous treatment of sexual sin is downright troubling.