Patrick Hughes’ follow up to The Hitman’s Bodyguard brings plenty of action, but little else.
Patrick Wilson & Vera Farmiga’s likability isn’t enough to keep this plodding entry in the smash horror series afloat.
The long-running horror franchise gets a prestige-adjacent update with an A-list cast, but it’s not enough to overcome the series’ massive hurdles.
Disney+ gives the kid’s hockey-team comedy series the Cobra Kai treatment, to heartwarming and rewarding results.
The Coming 2 America composer talks about finding the sound of Zamunda and the need for opportunities for Black composers.
While the script is almost entirely a retread of the original, an engaged and enthusiastic cast makes it worthwhile.
The cult hit series moves fully to Netflix for a season 3 packed with roundhouse kicks and a war of wills between its rival senseis.
Gal Gadot remains great in the title role, but the sequel does too little, while doing too much, to match her.
Netflix serves up more sugary sweet but harmless fluff to kick off the holiday movie season.
Despite attempts to recapture its magic, Sam Raimi’s second superhero entry remains the best in energy and empathy.
Sam Raimi and Bruce Campbell reunite to give their classic horror film a campy sequel-reboot that arguably surpasses the original.
Add McG’s execrable slasher sequel to the pile of tragedies 2020 has foisted upon us.
Silly, goofy, and totally brain-dead, this South Korean zombie flick bears only a passing resemblance to its inventive forebear.
Jack Nicholson’s disastrously-received sequel to Chinatown is far more interesting than its reputation implies.
Three decades later, Joe Dante’s gleefully anarchic monster-movie sequel remains an underappreciated cult classic.
The last entry in the Trip series provides more insults and impressions, but it isn’t so much about the jokes this time.
The first film to feature the horror icon in person, 1981’s sequel marks the franchise’s sway from Giallo-inspired mystery to Jason-centric mayhem.
The third entry in the irreverent buddy-cop series looks at old versus new without coming to any real conclusion or purpose.