
Show Dogs movie review: everything is awful
Embarrassingly bad CGI; pratfalls; genital humor; denigration of cat ladies; horrible clichés and stereotypes. This is the cinematic equivalent of stepping in dog poop. You know, for kids!

Embarrassingly bad CGI; pratfalls; genital humor; denigration of cat ladies; horrible clichés and stereotypes. This is the cinematic equivalent of stepping in dog poop. You know, for kids!

This is the death of the comic-book movie. Or it should be. The savage, inhumane nihilism here says, Yup, comics haters are right: this is dangerous nonsense with no morality or redeeming qualities.

Laetitia Dosch burns with a passionate anxiety in French writer-director Léonor Serraille’s debut, a clever, wise, wildly unsentimental portrait of a woman learning how to be herself.

A charming tribute to one remarkably dedicated cinema fan and historian, and to his decades-long hard work to save an essential piece of the pop-culture past and cultivate its story for the future.

This rape-revenge action horror is solid as pure grindhouse exploitation. But the rendering of its rage-fueled female protagonist is too salacious for this to ever be considered feminist.

This sci-fi riff on the end of privacy is not as provocative as it would like to be, and its mystery completely falls apart in the end. But its visual worldbuilding is fascinating.

This perfunctory home-invasion flick can’t whip up much suspense, and it strains for a feminism that it doesn’t know how to engage. But Gabrielle Union’s movie-star charisma shines through.

The complete lack of conflict overshadows even the cringeworthy attempts at physical comedy. Where’s the story in a woman who positively sails through her midlife crisis? The endearing McCarthy deserves so much better.

A flimsy treasure-hunt plot, a sexy song-and-dance number, and more of the same Elton John songs deployed with trite, lazy tedium. They mean to keep cranking out these dumb, dull movies, don’t they?

Tender and contemplative, but as it meanders to its not-quite conclusion, it misses a ripe opportunity to give a stronger voice to a character the likes of which isn’t often heard.