“Gotti” is as awful as you’ve heard, and don’t let anyone tell you any different. Nobody, from a professional critic to an average moviegoer to anybody who has ever seen just one movie in their entire life, can think this is any good. And if they do, I would recommend you never trust their judgment on anything ever again.
John Travolta stars as infamous crime boss John Gotti, a powerful man who rose to the top of the Gambino crime family in New York City. The film spans three decades of his life, from his home persona as a family man to his multiple jail sentences, is recounted by his son John Jr. (Spencer Rocco Lofranco) in a series of confusing flashbacks. The movie tries to cram way too much into less than two hours and manages to barely touch the surface of the more interesting aspects of Gotti’s life.
The end result is an incoherent jumble not unlike that of puzzle pieces thrown together in a bag, shaken up, and heaved on the screen in an astonishing display of haphazard incompetence. There’s a wealth of captivating and lurid material about the famous “Teflon Don,” but the bullet points of Gotti’s life presented in this film are so cluttered that everything gets lost. Little makes sense, the erratic chronology doesn’t work, and Kevin Connolly‘s dreadful direction is full of excruciatingly poor choices that include moments like when Gotti’s son gets run over by a neighbor (blame editor Jim Flynn for lending a helping hand in this scene, a bumbling series of handheld close-ups and rapid cuts between a bicycle, the glare of the sun, squealing tires, and a simmering pot roast) and when a surprise car explosion is set to “West End Girls” by the Pet Shop Boys. Huh?
Adding to the fray of the storytelling method are misplaced archival footage clips of the real Gotti in action, and the unsettling feeling that the filmmakers idolize their subject as some kind of folk hero. At several points in the story they actually try to make you feel sorry for this murderous mobster. Guess what? I don’t. You know who I did leave the theater feeling sorry for? Travolta.
“Gotti” is Travolta’s pet project, a film he thought would put him back at the top of Hollywood’s A-list. He truly believed this was the performance that would define his career, and he threw much time and money behind the film. He’s terrible in it. Terrible. Playing Gotti from age 30 until his death at 61, Travolta is saddled with lousy makeup that only accentuates his overblown grimacing with scowling jowls and furrowed brow. This series of endless mugging for the camera feels like a parody actor intentionally overacting as a spoof of a well-known historical figure. Travolta is a crummy actor anyway, but here he is on par with Tommy Wiseau in “The Room.” You’re tearing me apart, Barbarino!
Sometimes the performances break through with a glimmer of entertainment, but only because they are unintentionally funny. This most often occurs whenever Kelly Preston (as Gotti’s wife Victoria) is onscreen with her bad wig and even worse fake accent. I failed to contain my laughter at one point in the film when she looks directly at her husband and, with all sincerity, says “I love youse.” Ditto for the whiny, wide-eyed blunder of a performance from Lofranco. The actors deliver their lines so poorly that this film begs to be destined for a future of audience participation screenings, shown ironically at midnight to a packed house of college kids who yell back and throw props at the screen.
“Gotti” isn’t just one of the worst mob movies ever made — it holds the distinction of being one of the worst movies ever made. Travolta was right about one thing: he will be winning some awards at the end of the year. But they’ll be Razzies and not Oscars.
2. Show Dogs
I can count on one hand the movies I’ve walked out of over the years, and “Show Dogs” nearly proved to be too much for me to take. This wannabe buddy cop film about the unlikely pairing of FBI detective Frank (Will Arnett) and street smart Rottweiler Max (voice of Chris “Ludacris” Bridges) who go undercover at a dog show to stop animal traffickers is absolutely awful. The film’s listless 92 minutes nearly compelled me to hop out of my seat, race to the exit, and never look back, yet I endured this rubbish until the end.
This movie is so atrocious that I can’t think of one good thing to say about it. Not one. Even if I try as hard as I can, it’s still impossible. The only other film I’ve ever seen that even comes close to the unpleasantness portrayed here is the Russian import “Space Dogs: Adventure to the Moon” which interestingly enough is another supposedly family friendly film about talking pups. It’s inexplicable that this is being marketed as entertainment suitable for small children.
I’m quite uneasy with a disturbing and inappropriate lengthy bit about the real-life process in a pedigree show where a judge grabs and examines a dog’s private parts. In the film, Max is reminded to “go to your happy place” and zone out while a stranger touches his genitals. The burly pup practices as Frank reaches down there and is encouraged not to bite, to “just relax and act natural.” Later he’s shown during the actual judging process as an old man (who looks like a possible pedophile, strike one against the casting department) comes over to grope away while “Sexy and I Know It” by LMFAO blasts on the soundtrack. While this is going on, the dog’s eyes glaze over as he has a “Dirty Dancing” inspired dream montage about rainbows, shooting stars, and fire hydrants — blocking out the unpleasantness of having a strange old man poke at his nether regions. It practically shows a child how to devise and engage a coping mechanism when they’re in a situation with non-consensual touching. It’s not exactly the greatest message to be sending to children, and it’s just plain irresponsible. The more I think about this scene (which is revoltingly played for laughs three times), the more nauseated I become.
Even worse is the carefree, nonchalant attitude that dog breeding is completely acceptable and desirable, an enticing world where everyone has a purebred at the end of their leash and nobody dares mention a shelter pet. Other ill-advised, stomach-churning moments include a panda cub ripped from his mother to be auctioned to the highest bidder and a poached tiger gleefully riding a zip line through downtown Las Vegas. I don’t demand a movie like this be realistic, but when two dogs got behind the controls of an airplane I’d had enough.
The CGI is dreadful and nonsensical, from the moving mouths plastered over real animal actors to moments of sheer hogwash like a dog cutting triple back flips through the air or memorizing a lock code and punching it in to escape his animal control cage. I’d like to think the human actors in this junk were also mere cartoons since all of them seem completely embarrassed to have shown up for nothing more than a pennies-on-the-dollar payday. Natasha Lyonne is the best thing about this movie, so let that sink in.
This movie is made by and for outright blockheads, the type of people who refuse to demand more out of their entertainment options. The direction by Raja Gosnell is dreadful and the screenplay (by Max Botkin and Marc Hyman) is oversimplified to a fault. The anemic characters are wholly unappealing and half of the furry canine stars serve no purpose. Among the only animals that are given something to do are three very unfunny pigeons, a trio of birds who provide moments of literal exposition. “I don’t understand what is happening” a pigeon says in one of the early scenes — while another explains it to him word for word. And there’s no way anyone in the audience didn’t understand what was happening: a cop chases a bad guy down the street. Seriously.
So grab the kiddos and head out to see this one, especially if little Joey has always wanted to see a grown man waxing a dog’s testicles. This is what passes for family entertainment today, folks.
As far as Marvel superhero movies go, “Venom” ranks as one of the worst. This watered down bore is dumb, loud, and brash with nothing to say. The film suffers from an identity crisis with so many jarring shifts in tone that I struggled to stay engaged with the character and story.
Investigative journalist Eddie Brock (Tom Hardy) is seeking out his next big story when he accidentally becomes the host of an alien symbiote that gives him a violent super alter-ego called Venom. Eddie becomes the ultimate antihero as he must rely on his newfound powers to protect the world from an evil bio-engineering corporation.
A character like Venom is crying out for the “Deadpool” treatment. It quickly becomes clear that the studio was too afraid to go all-out and make an R-rated villain movie, although making this film for adults would’ve greatly helped. There are feeble attempts at comedy that just aren’t funny. I can think of just two scenes that barely made me chuckle.
Even worse are the lame action scenes and cheesy CGI. Director Ruben Fleischer takes the worst parts of Michael Bay’s style (with lots of shaky jump cuts and fiery explosions) and slaps ’em all together for lazy sequences like an animated motorcycle versus drone chase through downtown San Francisco. In a big-budget Marvel superhero movie, I shouldn’t be bored senseless during the action scenes: yet here I was, disinterested and disengaged. Every. Single. Time.
Hardy is likeable enough as Eddie, but his nemesis Carlton Drake (Riz Ahmed) and lawyer girlfriend Anne (Michelle Williams) add little to the plot or in terms of on-screen charisma. I wouldn’t go so far as to say the film was miscast, but nothing really clicks between any of the performers.
Hardcore fans of the comics may enjoy “Venom” more than an average moviegoer, but the film is ultimately too weird and confusing with an ending that’s just stupid.
4. Mile 22
Ever wondered what it would look like if you strapped a camera on the back of a wild hyena and set him loose? Look no further than “Mile 22,” a jittery mess of mayhem from shaky cam-loving director Peter Berg. Berg has made a big budget action thriller that reads like a pamphlet on what not to do when you make a movie.
It’s not just the performances (from Mark Wahlberg, Ronda Rousey, Iko Uwais, and John Malkovich), the bloody gun violence, or even the basic story that leave little to enjoy — it’s the poor craftsmanship that really sinks this one. The editing looks like it was done by an angry rhinoceros, with choppy, back and forth jumps that made me dizzy. The film is edited into a tornado of incomprehensibility. Why have exciting fights and action sequences when it’s so shaky that audiences can’t tell what the hell is going on?
Not helping matters is the blurry cinematography, a reliance on huge explosions to stand in for actual compelling material, and an idiocy that appears to have been nourished by an endless supply of Red Bull with a double shot of testosterone. This popcorn movie could’ve been an intense and entertaining slam dunk but instead, it left me with an unpleasant feeling with its “yay, America!” stance, which in itself is based on very dated elements of what makes an American patriot.
Featuring a roster of some of the most unpleasant characters, the film gives us little to root for. Wahlberg yells a lot and is a total jerk, and the supporting cast doesn’t do much to advance the plot. Rousey’s sole job here is to stomp around with a machine gun and scowl. There’s no happy ending in sight either, and the payoff is a lousy disappointment.
This movie is incoherent, erratic, aggressive, sloppy, and brutal. I felt gross as I walked out of the theater.
5. Solo: A Star Wars Story
“Solo: A Star Wars Story” is a real turd. It suffers greatly from a miscast lead (Alden Ehrenreich), a bland script (by Jonathan and Lawrence Kasdan), and plain vanilla direction from Ron Howard. There’s zero passion, zero charisma, zero cleverness, and zero spirit. It’s an even greater failure when you consider this is a film about one of the greatest characters George Lucas has ever created. A film showcasing a young Han Solo has limitless possibilities, yet the best character isn’t the main one.
Nothing new is presented here and everything you expect to see (right down to the ‘hold for applause’ shot of the Millennium Falcon) makes an appearance. Every member berry box is ticked, from the card game where Han wins the ship from Lando (Donald Glover), to the origins of his last name, to his chance meeting of Chewbacca. I wasn’t surprised nor delighted at anything in the movie. This is supposed to be an origin story of Han’s smuggling days and it’s told in a half-baked plot about stealing an explosive material to deliver to stale bad guy Dryden Vos (Paul Bettany).
A major part of the problem is that this is a movie that is trying to tell a new story with old characters, so there’s no real danger, suspense, nor high stakes. We know if Lando gets shot, he’s going to be okay. We know the double-crossers will double-cross the rest of the double-crossers.
The film suffers all around because it tries too hard. Ehrenreich tries too hard to walk and talk like a young Harrison Ford. Howard tries too hard to throw in Easter eggs for old-timers. Glover tries too hard to be so suave and hyper-cool that he comes off like a caricature of Billy Dee Williams the actor. The casting department tries too hard to avoid controversy over lack of diversity by including plenty of minorities in bit parts. The screenwriters try too hard to tie it all together into the galaxy’s long-established mythology. And diehard Star Wars geeks (like me) are going to try too hard to actually like this film.
I tried. I really, really tried.
The movie doesn’t pick up any steam until the last third and admittedly there are some glimpses of inspiration in some of the action set pieces, but everything about the first part is so crummy that it’s agonizing to watch. Bordering on grossly inferior, the special effects are barely good enough to pass muster. Every single scene that features the Millennium Falcon looks super cheesy, however. I’m talking Sci-Fi Channel, B-movie cheesy. I thought at one point I may as well be able to see a plastic model hanging from a string (it’s that bad).
Ehrenreich is one of the least appealing leading men in the franchise’s history. The studio famously hired an acting coach to report to the set early on during filming, which makes me wonder jesus christ, just how bad were the first cuts? His performance isn’t as terrible as I expected and not as good as I’d hoped. His face is glued with a dimwit grin as he spouts sloppily written dialogue that’ll make you groan. Want me to say something nice? He’s not as atrocious as Jake Lloyd or Hayden Christensen from the prequels.
One bad actor spoils the whole bunch, with the mediocrity infecting the supporting cast like an aggressive strain of the flu. Not even Woody Harrelson is immune (prepare to laugh out loud as he looks at the camera and shouts “noooo!”), and the lifeless Thandie Newton has a brief and futile role as his love interest and fellow gun for hire. Emilia Clarke serves up her usual blank-eyed stare while reciting lines like Vickie the robot from the 1980s television show “Small Wonder.” There’s even a pandering bone thrown to feminists with a social activist droid (Phoebe Waller-Bridge) that’s sure to induce plenty of eye rolls as she encourages protests and makes quips about demanding equal rights.
Nothing works as a cohesive unit. The costumes are showy but still feel oddly familiar, like a copycat of the same old wardrobe from any other Star Wars film (take your pick). John Powell‘s score feels clunky and out of place. The cinematography is gray and dreary. And a film about the beloved “scruffy looking nerf herder” isn’t at all fun or playful like the Han we all know and love.
This film is exhausting, lacks imagination, and is one that I have zero desire to ever see again. I honestly hope the magic isn’t completely gone from the “Star Wars” universe because it certainly appears to be with this latest standalone film.
6. Maze Runner: The Death Cure
If the grossly tedious and nearly unwatchable “Maze Runner: The Death Cure” is meant to be an epic finale to the popular young adult series, it fails on all accounts. If the sheer boredom from this bloated sequel doesn’t get you, the repetition will.
The film carries the assumption that viewers will remember minor characters and plot points from the previous films in the franchise and does little to remind us who’s who and what’s what. I kind of, sort of, recalled a few things mentioned in the film but folks who aren’t diehard fans will find themselves more confused than not. The plot is basic, as Thomas (Dylan O’Brien) leads a team of escaped Gladers (Thomas Brodie-Sangster, Rosa Salazar, Will Poulter) on a mission to break into a WCKD controlled city, rescue friend Minho (Ki Hong Lee), and destroy the evildoers. There’s not a lot of substance to the story as the film is mostly a series of poorly choreographed action sequences with a heavy reliance on dreadful looking CGI and lame special effects that are interspersed with scenes of characters you don’t care about dying long, drawn out deaths that leave little emotional impact.
The acting ranges from flat to ridiculous, the action scenes are far from thrilling, and the ridiculous love story between Thomas and Teresa (Kaya Scodelario) seems even more forced than usual. Not helping matters is that half of the uninspired plot doesn’t make any sense and even the whole explanation of why the maze existed in the first place is dumb.
The whole movie looks brown, dusty and dirty, and it’s downright ugly. (Want to see a dystopian future in brown that looks gorgeous? Check out “Mad Max: Fury Road”). The film is so dark that I found myself squinting in a couple of scenes because the computer generated backgrounds appeared blurry when used as a backdrop for equally brown costumes and lighting.
I’m glad this is the supposed end of the post-apocalyptic franchise because as this film suggests, everything about the “Maze Runner” series feels old, dated, and slightly pathetic.
Dwayne Johnson is an actor that everyone loves, but even he can’t save the lousy “Skyscraper,” a generic “Die Hard” meets “Towering Inferno” rip-off. I love disaster movies and I love dumb summer movies, but this one is lacking in both originality and fun. I was barely entertained at all by this monotonous supposed action thriller.
Johnson is Will Sawyer, a former FBI hostage rescue agent who, after a mishap in the field ten years ago, now runs a small security company. When he’s tapped to head the safety inspections for the world’s tallest building in China, Will, his wife (Neve Campbell), and his twin children are given a suite in the high-rise. When the evil nemesis (Kevin Rankin) of the building’s owner (Chin Han) sets the place ablaze, Will must rescue his trapped family from the raging fire.
I’ll take time to think what could’ve been if the camp factor had been appropriately ramped up, a’la “Sharknado.” Sadly, this movie is not so bad that it’s good. What follows is an off-the-wall ridiculous and, even worse, often boring violation of the laws of nature and common sense.
The characters have the vocabulary of a second grader and the script (by writer / director Rawson Marshall Thurber) is so basic that I swear it couldn’t be more than five pages that read something like “tedious exposition, explosions, explosions, explosions!” The special effects are shoddy and empty, and Johnson’s charisma is thoroughly squandered.
The only laugh-out-loud moments are those that aren’t intended to be funny. There’s not a real sense of danger, there’s not enough motivation, and there’s the absence of a menacing villain (unless you count the fire). The only real danger is from the flames, and we get repetitive scenes of people either having coughing fits from smoke inhalation or trying to outrun the blaze. It gets old. Really old.
Let’s call “Skyscraper” what it is: the world’s dumbest two hour commercial for duct tape.
8. Incredibles 2
Almost 15 years have come and gone since the original “The Incredibles,” the well-received 2004 Pixar film about a superhero and his equally super suburban family. This money-milking, awkwardly timed sequel feels not only dated but also completely pointless. I did not find this movie enjoyable, I did not find this movie funny, and I did not find this movie entertaining.
This time around we get too few original ideas and more of the same old tired family stereotypes that Disney loves to shove down the indiscriminate throats of its adoring audiences. The superhero family is given the “Mr. Mom” treatment where mommy steps up to save the day while daddy has a difficult time keeping the kids and house in order.
Watch as Elastigirl (Holly Hunter) takes to the streets to fight evildoers while Mr. Incredible (Craig T. Nelson) struggles to help Dash (Huck Milner) with his math homework, gives platitude-laden advice to teen daughter Violet (Sarah Vowell) after a cute boy from school stands her up, and juggles babysitting duties as he is incapable of keeping up with infant son Jack-Jack’s (Eli Fucile) new barrage of powers. It’s reference humor 101, and those without children will most likely respond with a big yawn. It makes me wonder why there’s still an audience for these gender role swapping movies. It’s just so 1982.
In an effort to pile it on as thick as possible, there’s an overstated bit about how parents are the real heroes. Chalk this up as a master class in acute pandering to moms and dads. Placing the focus on family dynamics and everyday drama instead of kid-friendly comedy and fun action sequences is a dumb move that’s certain to bore the little ones. It certainly succeeded in boring me.
The stumbling begins with a surprisingly lackluster opening action sequence that’s magnified by Brad Bird’s jerky direction and indifferent voice performances from the entire cast. The actors as a whole seem to be going through the motions and giving minimum effort. The line delivery is wooden and uninspired all around, even from the supporting players (Bob Odenkirk, Catherine Keener), and the villain named Screenslaver (and the eventual unmasking) is too pedestrian. The Incredibles themselves are a family of unappealing, irritating, paper-thin characters. They’re lame superheroes who don’t really accomplish much. The only saving grace is Frozone (Samuel L. Jackson), but his screen time is too limited to make any impact this time around.
In this “barely a 2 star movie,” the only positive elements come in the form of the delightful animation and the music. The Pixar team brings back a neat-o 1960s retro feel that echoes throughout the visuals and is supported by Michael Giacchino‘s eclectic, heroic score. A couple of moments of inspired direction come late in the game as Elastigirl battles Screenslaver in a hypno-box. It’s a stunning and gorgeous piece of animation, and I wish the entire movie had been as brilliant as this one scene.
The real travesty is that this film is missing a critical key element: fun. It’s lacking in laughs except for Jack-Jack’s cutesy baby antics and irresistible gurgles, and there’s a huge difference between genuine comedy versus polite giggles because “awww, look at the baby, isn’t he sweet?”
Everything about this movie is slow and plodding until the magic finally kicks in during the final third. What a shame that this much-needed boost comes far too late.
9. The Hurricane Heist
Just as its title would suggest, “The Hurricane Heist” is a literal-minded movie in every sense of the word. Not only is the plot about an attempted $600 million heist at the United States Mint in Alabama during a Category 5 storm, but the script and subsequent dialogue seems as if it was written by a six year old. If you want your movies spelled out for you to the point that characters actually discuss what is happening on screen as you see it (“the wind is blowing down the tower!” or “he’s got the gun and he’s shooting!“) and you hate surprises, then this is the movie for you.
Weather-based disaster movies can be just as fun as a classic heist movie, so mashing these two together into a loud, dumb, action-packed thrill ride sounds like a no-brainer, right? I thought so too, but my hopes were quickly dashed by the laundry list of wasted opportunities. So much could’ve been done to make this a romp filled with campy, culty amusement but instead we get a tedious, crappy film that is DOA. It’s dumb in the worst way, an idiotic, uninspired waste of time. It’s stupid but not nearly as stupid as it needs to be in order to be fun.
The problem starts with the cast, a group of inarticulate D-listers who are bland and generic. Case in point: I spent the entire movie thinking the heroine of the story (Maggie Grace) was actually actress Leslie Bibb. Oops. Add in a meteorologist who is terrified of hurricanes (Toby Kebbell), his kidnapped drunk of a brother (Ryan Kwanten), a low-rent, fake Gerard Butler lookalike (Ralph Ineson), and Kentucky-fried no-name character actors who swagger and deliver lines like Foghorn Leghorn, and you have all the necessary ingredients for a movie that’s as poorly acted as it is directed. I really wanted to like this movie but everything from the appalling editing to the most stiff non-acting since “The Room” made it impossible to do so. And forget the controversy over “Jumanji: Welcome to the Jungle” with Karen Gillan’s short shorts: why is a pretty, genius computer hacker character wearing a one-shoulder club dress to a heist?
The storm becomes its own character in the film and it turns in a better performance than any of the actors. The cheap, second-rate visual effects are ridiculous, lending a few laugh-out-loud moments like storm clouds that resemble a menacing skull face to a hilariously awful stunt where the glass atrium of a shopping mall is shot out with an assault rifle and a bad guy gets sucked straight out into the sky. It sounds awesome in a “so bad it’s good” kind of way, but this one is just plain crummy. It’s even worse than the worst SyFy Channel original movie (all of the “Sharknado” films are more fun than this, and better crafted too). “The Hurricane Heist” makes “Geostorm” look like “Citzen Kane.”
Not everything is complete garbage, though. There are some delightfully amusing action scenes, including a big finale chase with a semi-truck race against the eyewall of the storm as millions of dollars fly into the air. Some of the film’s highlights also become its funniest, like when a baddie turns to the storm and yells “damn you!!!” directly at it, when serious gunplay constantly breaks out but everyone is the worst shot on the planet, and when two brothers call out the same “Omaha” football play over and over yet each miraculously understands what the other wants him to do at that very moment (turn off lights, grab a gun, throw a punch to the left) when it suits the situation.
Even with a couple of bright spots of humor, nothing can save this project from the discount DVD bin where it belongs. How this managed a theatrical release is truly mind boggling.
10. A Star is Born
When you know a particular review is going to be poorly received because you differ from the popular opinion, human nature dictates that you put off writing about said film for as long as possible. The time has come when I can no longer wait to share my unfavorable thoughts on the long-winded “A Star is Born,” a melodramatic, overstuffed, cornball of a movie from director (and star) Bradley Cooper.
Cooper stars as seasoned musician Jackson Maine, and man who falls in love at first listen with waitress Ally (Lady Gaga). Ally has given up on her dream to become a famous singer because every encounter she has with someone in the music business ends with them telling her that they like her voice but not her looks. Jackson not only sees her raw talent but her natural beauty as well, and the two start a passionate love affair that ends in tragedy because of course it does.
The film as a whole feels dated, and not just in its powerful white male gender roles. Jackson, a tormented alcoholic in a downward spiral, turns to the bottle even more as Ally rockets to stardom because his delicate ego just can’t handle a woman succeeding as his equal. As a female I find this tired narrative objectionable, and I’d think (or at least hope) most men would feel the same. As her star rises, his fades, and the rest of the story falls into place with the expected formulaic trajectory. Ally is either manipulated or controlled by men at every point in the story, which made my stomach churn. Even more unpleasant is the romanticized ending that treats their very definition of a toxic relationship with dreamy rose-colored glasses.
Cooper, here better behind the camera than in front of it, makes some clever (if showy) directorial choices that save the film from feeling as if it’s nothing more than a lame duck vanity project. The film’s opening is particularly well done, but then he falls into the trap of overloading the story until the whole thing fizzles. There is simply too much going on that causes the film to lose its focus. The supposed love story that’s at the heart of the picture isn’t convincing in the slightest, and that’s something I blame on the hokey dialogue as well as the actors. Where is the chemistry? Where is the passion? Where is the authenticity?
The performances here are fine, but nothing nearing awards-worthy territory. Sam Elliott , understated as Jackson’s older brother Bobby, has far too little screen time to make an impact. Gaga has her moments and is insanely charismatic, but there’s an abundance of lapses where it appears she has forgotten she’s in a Hollywood movie and is instead the guest of the week on a daytime soap opera.
The soundtrack is admittedly fantastic, but there isn’t much else to recommend about this unnecessary remake. It has very little original to say, and it places flash over substance.
LOUISA’S WORST MOVIES OF 2018: DISHONORABLE MENTIONS
11. Death of a Nation
Controversial conservative filmmaker Dinesh D’Souza is back with a film that tries to compare Trump to Lincoln and today’s progressive Democrats to the Nazi party. Read the full review.
The paint by numbers script is oozing with apathy and the dialogue lifeless, which is made even worse due to the laughably awful performances. Read the full review.
“Rampage” is the bad kind of brainless entertainment. Movie gods, please don’t let there be a sequel brewing. Read the full review.
14. Life of the Party
I do applaud the film for placing a greater focus on verbal wisecracks and refusing to use McCarthy’s real world physique as a cheap punch line. Read the full review.
15. Proud Mary
I had high hopes for “Proud Mary,” but the movie disappointed me in every way imaginable. Read the full review.