Resident Evil: The Final Chapter is easily the most entertaining of the sequels, and while not as consistently engaging as Anderson’s first film, still the best video game to film adaptation to ever see the light of day, that doesn’t make the portions here that do work any less fun.

In short, those that choose to go with the flow and let the not-so-subtle emotional charms fueling A Dog’s Purpose work their magic are likely to come out of the theatre sobbing in heartfelt joy. Everyone else? Well, they’ll have a bone to pick with the film, and it’s likely they won’t be able to stop barking about their issues.

Gaghan’s Gold is a risky venture with a lot on its mind, mixing fact and fiction together to come up with a cinematic mirror that reflects back to the viewer topical images that aren’t always easy to witness. The thing is, if the combination isn’t right, if the balance is off, then good intentions and lofty ideals don’t end up meaning a single thing substantive, making the finished feature nothing more than celluloid pyrite barely worth the cost of a rental let alone a full-blown first run multiplex ticket.

I’m shaken in ways that go beyond description, the long-lasting impact of Julieta’s story deserving of additional exploration and discussion, not to mention multiple viewings. Julieta is superb, and to say any more could potentially ruin any number of its more intimate surprises.

20th Century Women is a sparkling, intimately moving drama of growth, friendship and family that springs to life with invigorating authority, its easygoing truth rapturous to behold.

Split is an aggressively nasty bit of pulp filmmaking, all of it building to a conclusion that’s as insidiously open-ended as it is fearlessly cathartic.

Insanely Silly Xander Cage Makes a Satisfactorily Extreme Return After faking his death and more than a decade away from the spy game, government agent Jane Marke (Toni Collette) has tracked down the elusive Xander Cage (Vin Diesel) with designs on bringing him back into the espionage fraternity. A team of crack operatives led by […]

There’s a reason Sleepless has been dumped into theatres by its studio with precious little fanfare, its level of ludicrous mediocrity almost impressive if it weren’t so gosh darn disastrous.

But the three main actors have trouble delivering performances I could even somewhat feign interest in, while the script itself is a compendium of clichés and boneheaded lunacies that grew increasingly tiresome as the narrative progressed. The Bye Bye Man just doesn’t work, and the likelihood I’ll think or say this unremarkable film’s name again anytime soon is nominal at best.