Kyle Anderson

The Road Chip fails to even cross to the low bar of Slang & Fart movies — though, in its defense, it’s also barely a movie.

Only Radcliffe escapes unscathed, lending Igor a convincing psychology despite the ham-fistedness of the material. But he’s not enough of a reason to resurrect this story again.

Seemingly every time there was an opportunity to do something fun, The Last Witch Hunter runs in the other direction, creating an unfortunately heavy-handed, humorless, self-serious tone for a story that should be allowed to be a little goofy.

For all its third act nuttiness, The Perfect Guy really should have gone way crazier.

It’s hard to deny the hedonistic joy in the way Delamarre plays with his various toys, and the goofball stunts—including the yacht-based finale, with a special appearance by a jet ski—are generally worth wandering through the dialogue desert.

In this post-"Mad Max: Fury Road" action movie age, “occasionally bonkers” just doesn’t cut it anymore.

Sinister 2 doesn’t know what it wants to be, and doesn’t add up to much.

The film—skillfully helmed by Brent Hodge and Derik Murray and featuring talking-head testimonials from family members, friends, and costars such as Mike Myers and Bob Odenkirk—heralds "Tommy Boy" as definitive and notes how winning a romantic lead Farley is in "Coneheads".

Writer-director Alex R. Johnson’s feature debut uses Southern Gothic simmer to heat up what is otherwise a typical gun-and-bag-of-money crime tale, though Hébert’s terrifyingly electric performance keeps the heat turned up enough to make the bloody climax feel like relief.

This is another found-footage movie that, with a little art direction and some actual cinematography, could easily have been a decent little terrorizer. Instead, it comes mostly unglued thanks to its hacky gimmick.