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Latest movie reviews, ‘the union’ review: mark wahlberg and halle berry star in a standard netflix action flick that gets the job done.

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‘Borderlands’ Review: Cate Blanchett Is a Gunslinging Bounty Hunter in Eli Roth’s Joylessly Gonzo Adaptation of the Popular Video Game

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‘Trap’ Review: A Wily Josh Hartnett Propels M. Night Shyamalan’s Moderately Entertaining Thriller

In the director's latest film, a father and daughter attend a pop concert that becomes part of a ploy to catch a deadly serial killer.

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Film Reviews

‘alien: romulus’ review: chest-bursting reboot is as thrilling and scary as the original, ‘jackpot’ review: wacky action-comedy with odd couple awkwafina and john cena, ‘tuesday’ review: julia louis-dreyfus’ arthouse oddity with a big heart, ‘borderlands’ review: video game bust plays like a bot wrote it, ‘i saw the tv glow’ review: an instant cult horror classic, ‘kneecap’ review: ballsy, brave and one of the best music biopics ever made, ‘blackpink world tour [born pink] in cinemas’ review: a fizzing k-pop party, ‘deadpool & wolverine’ review: a sarky, time-skipping superhero send-up, ‘victory’ review: put pep in your step with this cute cheerleading romp, ‘twisters’ review: ‘90s-style blockbuster sweeps in to save the day.

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By The New York Times

A bouquet of red flags.

‘It Ends With Us’

In this romance based on the book of the same name by Colleen Hoover , flower-lover Lily (Blake Lively) falls in love with picture-perfect neurosurgeon Ryle (Justin Baldoni, who also directed), but discovers he may not be so perfect.

From our review:

It Ends With Us” is fitfully diverting, at times touching, often ridiculous and, at 2 hours and 10 minutes, almost offensively long. It’s visually and narratively overbusy, stuffed with flashbacks of Lily as an adolescent (Isabela Ferrer) that create two parallel lines of action. … The flashbacks add information, yet they also pull you away from the adult Lily, which fragments Lively’s performance and drains the slow-building momentum of her scenes. Just as unfortunately, Baldoni prettifies everything — trees, cityscapes, people — to the point that each detail, pose and smile seems lifted from a lifestyle ad instead of true, messy reality.

In theaters. Read the full review .

Bullets over back story.

‘borderlands’.

This action caper from Eli Roth, based on the video game franchise of the same name, follows the bounty hunter Lilith (Cate Blanchett), joined by a band of outlaws, as she tracks down, a tycoon’s daughter (Ariana Greenblatt).

You can see the jokes, but most of them don’t land. Still, there is some neat design work if you squint. The masks are pretty cool, like the ones worn by a handful of goons who sport glow-in-the-dark face coverings with eerie green slits, and a digital technology allows people to wear other people’s pixelated faces over their own. … In voice-over narration at the beginning, [Blanchett] drolly intones that the plot to come is “some wacko B.S.” We don’t disagree.

Critic’s Pick

Coming-of-age with men who don’t act theirs.

On a camping trip, 17-year-old Sam (Lily Collias) grapples with the immature behavior of her father (James Le Gros) and his old friend (Danny McCarthy) in this drama.

“Good One” is the writer and director India Donaldson’s feature debut, and an astounding one, full of the kind of emotional detail that can only come from personal experience. The movie smoothly shifts from gentle comedy to emotional punch, modest in a way that sneaks up on you in the end, backed by Celia Hollander’s acoustic, folk-inflected score. For most of the film, we’re expecting something to happen to Sam — it feels inevitable, out here in the woods with two grown men. But when something does happen, it’s totally unexpected and revelatory.

The boys are back in Beantown.

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More From Forbes

The ‘borderlands’ movie debuts with a 0% on rotten tomatoes (update).

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Borderlands

This post was published on 8/8 and republished on 8/10.

I’m not sure I knew of anyone, Borderlands fan or not, who believed that the movie adaptation of the game was going to be good, based on everything from casting to trailers. Now as reviews come in ahead of its release tomorrow, those fears have been validated. And then some.

As I write this, the Borderlands movie has a flat 0% on Rotten Tomatoes . No positive reviews whatsoever ( Update : A single positive review has come in raising it to a 3%), and the ones that are in are not just negative, but brutal . Here’s a sampling:

• Discussing Film: “The fans deserve a lot better than whatever director Eli Roth is trying to do with Borderlands. This is the video game movie curse at its worst.”
• Men’s Journal: “If Borderlands doesn't stop studio executives from salivating at the sight of every single IP that comes across their desks, nothing will.”
• Next Best Picture : “It’s impressive how Roth can elicit the poor quality of 2000s video game adaptation energy yet somehow forget the discernable sense of fun or style that made even those terrible movies stand out.”
• IGN : “Borderlands is an abysmal waste of a beloved franchise that takes a kooky band of murderous misfits and drains the life out of their first adventure together.”

It’s true there are not many reviews in yet, and the score may tick up, but everything I’ve seen outside of some video game influencers who attended premieres (or are literally extras in the movie) has been relentlessly negative, and I would be surprised to find more than a handful of positive reviews come in when all is said and done. If any.

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A 0% on Rotten Tomatoes is of course as low as you can go. If we are looking at the worst-scored video game movies ever made, that list would now be (Updated list with the 4%):

• Alone in the Dark (2005) – 1%
• Street Fighter: The Legend of Chun-Li (2009) – 3%
• House of the Dead (2003) – 3%
• Borderlands (2024) – 3%
• In the Name of the King (2007) – 4%
• Bloodrayne (2005) – 4%
• Mortal Kombat Annihilation- 4%
• Silent Hill Revelation (2012) – 8%
• Hitman Agent: 47 (2015) – 8%
• Postal (2007) – 9%

I put the year there so you can see that most of these ultra-terrible ones are in a decade or so when making a good video game adaptation was borderline impossible and the only people trying were directors like Uwe Boll half the time. As of late, we have seen very solid live action video game adaptations on both film (Sonic) and TV (The Last of Us, Fallout), and Borderlands seems to be a 10-15 year step backward.

I do expect it to rise above a zero percent. There are so many critics on Rotten Tomatoes of questionable quality and taste that probably someone will like it and knock it above some of these (I am one of those critics, so no judgement), but that has not happened at the time of this writing.

Who saw this coming? Everyone. Everyone did. And here we are.

Update (8/10): We have 92 reviews in now, and Borderlands has gone from 0% to 3% to now settling at around 10%. This puts it outside much higher on the “worst video game adaptations ever” list, which would now look like

• Borderlands (2024) - 10%

Of course there is absolutely no pretending a 10% is good. I do agree, however, that it does not deserve to be quite as low as that terrible decade of Uwe Boll movies and a few other very poor ones. Like no, this is definitely not on par with Street Fighter: The Legend of Chun-Li.

I have indeed now seen the movie myself, and a 10% is something I can get behind. My own negative review is now on Rotten Tomatoes, and here’s an excerpt:

“This is neither a good Borderlands movie or nor a good movie, period. It feels like Gearbox and Eli Roth tried to split the difference here, making a mass-appeal PG-13 action film but gesturing vaguely at the games to try to get that crowd to show up too.

But the end result is throwing the Borderlands games at a wall, watching them shatter, and gluing back together a handful of mildly recognizable pieces.”

I said in the piece that the casting of Kevin Hart and Cate Blanchett are big problems, as expected. Hart mostly acts like a barely toned-down version of his usual self, and is nothing like game Roland. Blanchett is of course normally a great actress but a 30 year or so age increase from Lilith is bizarre, and also makes no sense within the confines of the film as actresses close to her age appear to remember her as a child.

This is a franchise killer. Gearbox had big plans for a Borderlands cinematic universe that is clearly going nowhere after this. And given how this went, that is fully justified.

Follow me on Twitter , YouTube , and Instagram .

Pick up my sci-fi novels the Herokiller series and The Earthborn Trilogy .

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Movie Reviews

Tv/streaming, collections, chaz's journal, great movies, contributors.

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“ Jackpot! ”  is a trashy and repetitive action comedy about greed and bloodlust set in a world full of people who are proud to be awful. Directed by Paul Feig (“ Spy ”), it's set in near-future Los Angeles, which begins to seem like a statement in itself as the movie goes along. There’s a statewide lottery. For some reason, the state government has decreed that citizens are permitted to hunt and kill winners to try and take their prize money. A handful of rules govern the hunt. One is, only those who’ve purchased a ticket and lost the draw can take part. Another rule is: no guns allowed. A third is: the hunt can only go on for 24 hours. If the original winner has survived at the end of that period, they get to keep their winnings.

Other than that, anything goes. Participants can use knives, clubs, broken bottles, bats, chains, rubber hoses, spears, curtain rods, mop handles, and presumably automobiles (though I don’t recall anyone trying to run anyone down deliberately, which seems like a strange omission in retrospect). They can hunt alone or in groups, even very large groups. 

Awkwafina plays the target of the latest hunt, Katie Kim, a former actress who just returned home from many years spent visiting her dying mother in another state. Her dad died a while before. She didn’t have a good relationship with either parent. We get a bit of detail about her personal life to explain why she doesn’t know anything about the California state lottery turning into a murderous manhunt (she’s been spending time with her mom; no, really, that’s the reason) and also why she’s worthy of our sympathy (beyond the fact that, like other past lottery winners, she doesn’t deserve to be hunted like an animal; nobody does). Katie comes into her own winning ticket purely by accident and doesn’t realize she has it until her number comes up during an audition (which she doesn’t get) and everybody starts looking at her like a cartoon wolf staring at a lamb and imagining lamb chops.

An entire economy seems to have grown up around the lottery hunt, though the movie only zeros in on one part: the security experts who locate winners and offer them protection from harm in exchange for a cut of their fortune. John Cena plays one such security guard, a lovable bruiser named Noel. He used to work for a very successful lottery security company run by a snotty badass named Louie Lewis ( Simu Liu ). He saves Katie from death after the audition, when everyone in the building, including other actresses and a gymnasium full of karate students, have turned on her. She studied stage fighting but didn’t learn a lot. Her instincts are good, but she lacks the moves to survive. Without Noel, she’d be dead meat. And without Katie, Noel would be just another square-jawed he-man. (He’s got a backstory, of course, which Katie will gradually pry out of him.)

Written by Rob Yescombe , whose prior work was mainly on video games, “Jackpot!” doesn’t make a lick of real-world sense, and it’s not supposed to. It has a video game-like repetitiousness and gradual escalation, leading to a Big Boss showdown. There’s a lot of obviously improvised comedy that sometimes lands but more often feels like somebody filmed the exercises in a comedy performance workshop. It’s all in service of a movie that’s more half-baked goof than full-blown satire.

And it seems committed to not investigating the deeper implications of the scenario it’s presenting, in which the lottery hunt is the logical outgrowth of a society that seems to have completely given up on modeling decent values and has decided instead to monetize the worst human behavior. When Katie rents a tiny room from a website and realizes when she gets there that it doesn’t look anything like the pictures online, the young woman who rents it, appropriately named Shadi ( Ayden Mayeri ), chirps “we used fake photos, because who’s gonna stay here if we don’t?” Early in the movie, Katie sees a hateful stage dad loudly and profanely griping about his young daughter, who just failed an audition. “Sorry for all the bad words,” he tells the kid. “I only curse when your mom’s being a f—--g b—h.” 

Ace character actress Becky Ann Baker gives us a glimpse of what the movie could’ve become in her brief performance as a lady who seems gentle and kind but is anything but. She captures the professional predator’s self-satisfied inward smirk at fooling somebody who trusts them, a marrow-deep rottenness that is expressed through fleeting glimmers in the eyes, and that is visible only to people who know what to look for. 

But with a few exceptions, the movie’s way shallower than its best character moments. We don’t know what the state gets out of letting people hunt lottery winners–as in the “Purge” series, it seems on its face as if the cleanup required the next day would outweigh whatever value the exercise has in collectively permitting a society to let off some steam–but this is frankly not the kind of movie where you are supposed to think anything except, “that was a pretty funny line,” or “that looks like that must’ve hurt” or “cool stunt.”

There are seeds here that could’ve flowered into an audacious action comedy, perhaps in the vein of “Robocop” or “ The Running Man ” or “Battle Royale.” I kept thinking of that last one throughout “Jackpot!” because, unlike “Jackpot!,” it’s so cynical that it has moved beyond bitterness and into a kind of blase matter-of-factness, and also because it has an actual vision rather than a notion, and the action is imaginatively framed, lit, choreographed, and edited, an area of filmmaking that has never been Feig’s strength or, honestly, one of his main areas of interest (though “Spy” had its kickass moments, such as the kitchen fight ). 

The two stars have good chemistry – they seem to genuinely enjoy being around each other – but there’s nothing in the script that challenges either of them in the way that James Gunn challenged Cena in two genuinely special superhero projects, “ The Suicide Squad ” and “Peacemaker,” or that Lulu Wang challenged Awkwafina in “ The Farewell .” For the most part, this is a lackadaisical project that is an example of the coarsened sensibilities it’s making fun of. As is often the case with improv-driven movies, the outtakes that play during the end credits are more natural and pleasurable than the movie. 

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Jackpot! (2024)

106 minutes

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Ayden Mayeri

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Alien: Romulus

While scavenging the deep ends of a derelict space station, a group of young space colonizers come face to face with the most terrifying life form in the universe. While scavenging the deep ends of a derelict space station, a group of young space colonizers come face to face with the most terrifying life form in the universe. While scavenging the deep ends of a derelict space station, a group of young space colonizers come face to face with the most terrifying life form in the universe.

• Fede Alvarez
• Rodo Sayagues
• Dan O'Bannon
• Cailee Spaeny
• David Jonsson
• Archie Renaux
• 144 User reviews
• 106 Critic reviews
• 63 Metascore
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• Trivia Director Fede Alvarez sought out the special effects crew from Aliens (1986) to work on the creatures. Physical sets, practical creatures, and miniatures were used wherever possible to help ground later VFX work.
• Goofs When the characters first enter the space station, the artificial gravity briefly turns on and then off again. Shortly thereafter, they enter a room where several objects are hovering in mid-air. If the objects had momentum immediately after the gravity switched off they should be moving on a trajectory, and if not they should still be against the floor. Either way, they should not be unmoving several feet off the floor.
• Connections Featured in Nerdrotic: The Acolyte: Force is Female CONFIRMED? The Death of Theaters - The Real BBC @MauLer @HeelvsBabyface (2024)
• Soundtracks Theme from Alien Written by Jerry Goldsmith

User reviews 144

• and_mikkelsen
• Aug 14, 2024
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• August 16, 2024 (United States)
• United States
• United Kingdom
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• Quái Vật Không Gian: Romulus
• Origo Studios, Budapest, Hungary
• 20th Century Studios
• Scott Free Productions
• Brandywine Productions
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• Runtime 1 hour 59 minutes
• Dolby Atmos
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Browse Reviews

The incoherent drama Browse tries to look like a suspenseful horror movie, but there's nothing scary or thrilling about this rambling dud of a film.

Full Review | Jul 30, 2020

A great deal of the movie consists of unfinished ideas, plot points, story threads, and character arcs.

Full Review | Original Score: 2/4 | Jul 22, 2020

It's a thoughtful, curious piece of work which may not quite be successful in finding its destination but which manages to intrigue along the way.

Full Review | Original Score: 2.5/5 | Jul 21, 2020

Skip the film if you need an ending that answers the questions raised throughout. But check it out if you enjoy seeing a psychological thriller that makes you come to your own conclusions.

Full Review | Original Score: 7/10 | Jul 20, 2020

With such a tangled mess of a film it is hard to put your finger on what went wrong in the bringing it to the screen.

Full Review | Original Score: 2/5 | Jul 13, 2020

In a perfect world, this thriller, with its onslaught of stomach-churning "oh no!" moments, would've had a point, something that connected it all together (or at least a conclusion), but it doesn't.

Full Review | Original Score: 2/5 | Jul 12, 2020

An identity theft "nightmare" that fails every attempted thrill and chill. Quite possibly one of the most unimaginative and unmemorable films I've ever seen.

Full Review | Original Score: .5/5 | Jul 10, 2020

An everyman's identify theft -- or is he just a deluded creeper? -- is fitfully explored in this underwhelming psychological thriller.

Full Review | Original Score: 2/5 | Jul 7, 2020

Browse feels like glimpsing through a problematic story with little context as to why you should care let alone watch it.

Full Review | Original Score: 2/10 | Jul 7, 2020

This thriller doesn't thrill. It occasionally amuses, and it rarely makes any real sense.

Full Review | Original Score: 4 | Jul 6, 2020