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Meg 2: The Trench has been savaged by critics in early reviews, with many claiming it to be worse than the first film.The follow up to the 2018 action movie sees Jason Statham return as Jonas Taylor, as he and his crew of underwater researchers discover a deep trench housing three massive megalodon sharks, as well as another prehistoric creature that threatens everyone on the surface.At the time of writing, Meg 2 has a Rotten Tomato critic score of just 28 per cent, which is even lower the franchise’s mildly received first film (46 per cent).Variety wrote of Ben Wheatley’s sequel: “If you want to know what a movie would sound like were it written entirely by AI, look no further than The Meg 2.”The Guardian, meanwhile, gave the film two stars, writing: “The sequel treads water and splashes around frantically in search of an identity. Never settling on whether he wants his film to be Alien, Jaws, Jurassic Park or Sharknado, Wheatley serves up a bouillabaisse of all four.”Sharing a similar sentiment, BBC Culture wrote: “Meg 2 doesn’t know what it is, other than a movie sort of like that first movie, but messier.

Brent Lang Executive Editor “Meg 2: The Trench” sunk its pearly whites into $3.2 million in Thursday previews, as the followup to the 2018 Jason Statham hit is hoping to premiere to $30 million. Critics have feasted on the film, giving it a dreadful 28% “rotten” rating on Rotten Tomatoes, but the pulverizing reviews may not have much impact on audiences who don’t turn up to these type of movies out of a desire to see a pioneering work of cinema. Instead, they’ll get a chance to witness a 75-foot-long megalodon, and other sea creatures who prefer human flesh to plankton, make short work of a group of scientists.

The spoils of July are spilling over into August as Warner Bros.’ Barbie after a $11.8M Thursday, jetted across the four-century mark at the domestic box office in her 14th day –faster than Top Gun: Maverick and Super Mario Bros Movie– with a running total of $406.4M at 4,337 locations.

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Alison Herman TV Critic In “The Lost Flowers of Alice Hart,” the namesake plants have multiple meanings. After a fire takes the lives of both of her parents in coastal Australia, nine-year-old Alice (Alyla Browne) moves to Thornfield, a secluded wildflower farm run by her estranged grandmother June (Sigourney Weaver). But Thornfield is more than just a source a native flora; “flowers” are also what June calls her employees, all women escaping violent pasts and troubled home lives.

plopped a boxing ring in the middle of the orchestra nearly 10 years ago.But Huey Lewis did not sing “Power of Car,” he sang “Power of Love.” And heart is completely absent from director John Rando’s shiny and serviceable staging of the beloved 1985 science-fiction movie.Coursing emotion, teen angst and can-do scrappiness are what set director Robert Zemeckis’ original film apart from other entries in the time-travel genre. “Back To The Future” wasn’t HG Wells or “Star Trek IV: The Voyage Home.” And it’s hardly remembered as a flashy spectacle, either.

Back To The Future: The Musical made me very nostalgic for that great time-traveling ’80s movie, but Peggy Sue Got Married isn’t available on any of my streaming services.

Frank Rizzo Yogi Berra said the future ain’t what it used to be. We know how he feels. The Broadway arrival of the West End hit “Back to the Future” continues the march of Hollywood brand extensions to the musical stage.

Dennis Harvey Film Critic Marc Forster has frequently demonstrated an ability to tastefully moderate the more manipulative or saccharine aspects of popular but somewhat blunt-edged source material, in bestseller screen translations like “The Kite Runner” and “A Man Called Otto.” That knack comes in handy once more with “White Bird,” a graceful adaptation of a YA graphic novel by R.J. Palacio.

Joe Leydon Film Critic Writer-director Nicholas Maggio may not have intended to be self-critical when, fairly early in his debut feature “Mob Land,” he has one character observe to another about their failing small Southern town, “This whole place has become a fucking cliché.” But the longer this slackly paced rural noir continues, the more that dialogue seems in retrospect like fair warning. Borrowing freely from “No Country for Old Men,” “Collateral” and maybe a dozen or so other superior films, Maggio has cobbled together a modestly diverting, effectively atmospheric but blatantly derivative crime drama sprinkled with a few joltingly nasty plot twists.

Rene Rodriguez The spirit of Barry Jenkins’ “Moonlight” weighs heavily, both thematically and stylistically, on “Brother,” a drama about two brothers growing up in a low-income Toronto suburb that lacks the grace and eloquence of the 2016 Best Picture Oscar winner. But even if writer-director Clement Virgo, adapting David Chariandy’s 2017 novel, can’t achieve the sustained aura of ineffable melancholy he’s striving for, the film still hits some lovely notes of grace and poignance that rise above the script’s manipulative nature.

Donald Trump has now been “arrested” and arraigned yet again, this time for the federal charges related to trying to overthrow the 2020 election.

After the 2018 Jason Statham-starring sci-fi action/horror extravaganza The Meg made an imposing global haul of roughly $530 million ($385 million of that from outside the U.S.), it became instantly inevitable that more giant deep-sea monsters would quickly be hatched to populate a sequel. It follows that some of these overgrown aquatic freaks might be very hungry, or perhaps just anti-social and angry that their population is being slightly decreased. Fortunately, Statham is there when he’s most needed, taking on countless creatures whose deep-water habitat is being invaded, perhaps for the first time since the beginning of time. Little wonder they’re upset.

Meg 2: The Trench is taking a bite out of the box office this weekend!

Owen Gleiberman Chief Film Critic The movie-mad phenomenon of “Barbenheimer” has been a thrilling reminder that audiences can still embrace the movie-theater experience, turning up in awesome droves when they’re offered something new and adventurous. It’s also been powerful evidence that films that aren’t formulaic sequels can succeed in a way that too many recent cookie-cutter franchise films have not. But will all that go down as a lesson for the future? Or a giant anomaly? We probably shouldn‘t kid ourselves.

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The Heartstopper reviews are in!

Peter Debruge Chief Film Critic Lately, in the overwrought majority of Hollywood blockbusters, nothing less than the fate of the planet hangs in the balance, as some natural disaster or dastardly supervillain threatens to annihilate life as we know it. Such impossibly large stakes may be necessary to justify the CG spectacle of certain Marvel movies, but instead of inspiring excitement, they mostly leave me ambivalent and bored.

Peter Debruge Chief Film Critic Next time someone wistfully insists, “They don’t make ’em like they used to,” why not point that nostalgic cinephile to the work of Dominique Abel and Fiona Gordon? The Belgium-based creative couple are almost single-handedly keeping the classic burlesque tradition alive on screen — if the word “single-handedly” can fairly be used to describe a near-silent comic duo with four hands between them, plus a growing company of collaborators (including dancer Kaori Ito) and a prosthetic arm with a mind of its own. In “The Falling Star,” Abel and Gordon bring their old-school comedic sensibility to what could loosely be described as a detective story, told in a film noir style punctuated with flashes of color: a red dress, a tiny green car, a bright yellow scooter.

Ellise Shafer “Lost in Paris” directing duo Dominique Abel and Fiona Gordon have shared a first look at their new film “The Falling Star,” which premieres at this year’s Locarno Film Festival. Abel and Gordon also star in the film, which follows Boris (Abel), a former activist who works at a bartender at the Falling Star. According to the film’s official synopsis, Boris’ “guilty past resurfaces when a victim finds him and wants revenge.