We have seen experiments go more spectacularly wrong before. Rampage tries to go one step further by starting with monsters in space and ending with monsters on the ground. But the film then does little with any of its three.

Guillermo del Toro, still enjoying his Oscar, has to take some blame for this metal-on-metal havoc, which he helmed the first time around as director (Pacific Rim, 2013) and now shepherds as producer.

Rarely has an actress gone through more physical battering, even if to establish herself as an action figure. It’s hard not to feel for that very sensitive face and that delicately lean frame, which though — surprise, surprise — emerges none the worse for wear.

A combination of some nifty directing, winsome acting, and some genuine laughs make Game Night as entertaining a film as one with such limited goals can get.

The trenchant Christian Bale, always an actor who can make everything he does seem important but remote, struggles to portray a battle-hardened Captain of the Union army.

The 15:17 to Paris isn’t really an original Eastwood story. But it’s easy to see what would attract him to this real-life tale about three ordinary Americans, two of them off-duty soldiers, foiling a possible terror attack aboard a train in 2015.

The Death Cure can’t really explore this to any great length given the limitations in which it operates, and given that at least twice, it has to turn to cranes or helicopters to lift a train coach and bus full of children out of harm’s way as a plot turner.
Still, as this franchise too winds to a close, some marks to it for trying.

After a lot of fighting and punching, little of which has got to do with why this story was set on a train, the film makes its way towards a conclusion that many would have long guessed.

…this is a film about back-thumping American heroes, who volunteer for war seeing the WTC towers go down, after saying weepy goodbyes to dutiful wives and children, and remain good, unquestioning people at heart miles away in enemy territory.

Rarely has a film about life seemed less life-like. Waltz in his half-demonic wide smile does stir some motion, but more and more of his roles now seem a parody of the original in Inglourious Basterds.