Chris Klimek

The film dutifully captures the 14 songs from the Boss' latest album, but the half-hour of extra interstitial footage doesn't supply any new or meaningful context.

The in-jokes and callbacks come at you faster than the zombies do in this agreeable return to the world of the 2009 horror-comedy.

In this 'buoyant but slight' Netflix film, Eddie Murphy plays comic Rudy Ray Moore, who found blaxploitation stardom in the persona of the swaggering Dolemite.

Distance — both interplanetary and emotional — is the subject of James Gray's "stirring sci-fi epic" that stars Brad Pitt and Tommy Lee Jones.

Film critic/Springsteen superfan Chris Klimek says Gurinder Chadha's film about a British-Pakistani kid who finds inspiration in The Boss's music is affected and cloying.

The "genial flexfest" of a spinoff is the "most agreeable" of the franchise, which once again slickly repackages set pieces from other, better, more innovative action films.

Call it peak Tarantino: The writer/director's ninth film — about a Manson-family-adjacent actor and his stuntman — is an ode to the grimy, neon-lit place and time that shaped him.

The latest summer action-comedy to attempt to satirize summer action-comedies by upping the violence, Stuber wastes its two charismatic leads in an unfunny riff on 2004's Collateral.

A charming cast, some fun twists, and the usual third-act bloat; Avengers may be over, but this "bright and buoyant" spider-sequel doesn't give you a chance to forget the Marvel formula.

The sequel to the sequel to the classic 1971 blaxploitation film is fueled by gay-panic jokes and poorly staged, violence-is-the-answer set pieces.

The sequel to the 2014 Godzilla finds two scientists and a bunch of monsters stranded in an undercooked story about an underdeveloped monster.

The third installment of the Keanu-as-super-assassin series triples down on the gorgeously staged violence, but little things like his character's motivation get hopelessly muddled.

Critic Chris Klimek crunches the numbers to examine how and why blockbuster films like Avengers: Endgame grew to such great, bladder-busting lengths.

Comics creator Mike Mignola's gruff demon-hero gets a hard-R reboot that swaps out the charm of director Guillermo del Toro's previous iterations and replaces it with "chaotic, repetitive" gore.

Tim Burton's take on the classic Disney animated feature does what it sets out to do in a kid-friendly, safe and unsurprising way devoid of the director's onetime idiosyncratic flair.

Despite a surfeit of impressive talent behind and before the camera, and solid set-pieces, Robert Rodriguez's adaptation of a popular manga about a deadly teenage-ish robot feels thin, and dated.

Miss Bala invites comparisons to other, more effective films with similar butt-kicking protagonists, but as compelling, well-acted genre filmmaking, it succeeds.

A perpetually sodden Matthew McConaughey plays a fishing-charter captain drawn into a murder plot in this soapy, dopey tale that turns into an unconvincing fish story.

Peter Jackson's documentary, featuring expertly restored archival footage from the first World War, is "astonishing"; his "digital tools summon empathy, not spectacle."

The animated film argues that movies are better if you open them up to everyone. The movie says, "Anyone can wear the mask," and indeed, multiple characters do, including Miles Morales, the first Afro-Latino Spidey.