Christian Hamaker

Rather than a timely, relevant story, this poorer Left Behind plays like a throwback to the 70s, when disaster movies were all the rage.

The Secret Life of Walter Mitty is a superior treatment of similar themes and the search for meaning and purpose.

Levels of intensity and violence push the PG-13 boundaries, but the film is competent considering it's another teen dystopian adaptation.

Brother-sister reconciliation story goes to some dark places, and doesn't allow viewers to laugh all of them off.

Could more accurately be referred to as "The Letdown," and a big one at that. Only manages a small burst of energy before fizzling out.

After a promising start, the story lets Wright down in the end by losing the human-interest angle and growing less fascinating visually.

Plays like an inside joke, offering moments of diversion and offbeat humor but never amounting to anything more than a curiosity.

On the rom-com scale, scores fair on chemistry between leads, poor on script. Too bad in a sex-free film where marriage is a noble goal.

Not as memorable as fellow 2014 foodie film Chef, but it’s hard to find any major flaws in it. Predictable, but well-played.

The opening bursts with a rare synthesis of music and unusual imagery that looks like the beginning of a memorable film. It doesn't last.

Rather than cautioning about aspiring to god-like omniscience, Lucy appears to long for that outcome. But this is secondary to the fun.

Hoffman's strong performance reminds us again of what we lost when he died, but the film as a whole is a bit of an endurance test.

Begins with several forced, tasteless jokes before settling into a familiar but not unpleasant story which the lead actors carry well.

A magnificent experiment that succeeds in a fashion so spectacular that not even the most dazzling CGI-driven popcorn movie can match it.

Transformers: Age of Extinction is a reboot of sorts. Mark Wahlberg plays a Texas widower raising a 17-year-old daughter.

Sweet but sordid, a darker take on music that's usually identified with a more carefree, wholesome era.

Doesn't offer the same measure of surprise as the original but has different strengths of its own, including how regret and apology heal.

Mel Brooks has nothing to worry about: Blazing Saddles this is not. In fact, the laughs are in short-supply and mostly the gross kind.