Chuck Wilson

[A] pitch-perfect, deeply affecting film.

There are many things absent from this found-footage horror movie, including suspense, logic, and originality.

The game of wills that ensues between the two women isn't terribly interesting, much less suspenseful, and in fact, it's not clear that director Egidio Coccimiglio and screenwriter Floyd Byars ever settled on whether they were making a thriller or a satire about food and celebrity.

Vibrant cameo performances by two of our most engaging young actors—Jesse Eisenberg and Jason Ritter—along with one film legend—Tippi Hedren—transform this modest comedy into something special.

Always amusing, if never screamingly funny.

A thriller whose storytelling ingredients are so familiar that one could watch it with the sound off and still know what's going on.

Aftershock is incompetently made and morally muddled, but since talent, morality, and Mr. Roth have never been on speaking terms, we're not exactly surprised.

Director Ryûhei Kitamura (The Midnight Meat Train) is too talented for material this retro-junky, but he and screenwriter David Cohen keep the action coming hard and fast.

There are some decent shootouts, but the movie's strongest assets are the soulful performances Danish director Kasper Barfoed, making his American debut, draws from Cusack and Akerman.

The movie is eerily photographed (by Brandon Trost), but never suspenseful or scary, and eventually, events descend into goat-sacrificing silliness.

Papa Cronenberg must be proud, but be advised: If there's a blood test in your future, book it before seeing this movie.

The plotting as a whole feels fresh, as does the emphasis on women strong enough to defend themselves.

The Story of Luke is a charming little film in need of a bit more grit.

Lotus Eaters, which McGuinness co-wrote with Brendan Grant, is maddeningly shallow—maybe that's the point—but McGuinness does have talent.

First-time director Wayne Blair and screenwriters Keith Thompson and Tony Briggs, adapting Briggs’ stage play, don’t shy away from the era’s social complexities, but they keep their eye on the ball, which in this case is the sweet pull of soul tune harmony.

Built-to-shock anthology film.

In Griggs's eyes, they're all fools. Only old Ronnie, dearly departed though he may be, is worthy of reverence.

Despite crisp photography and the director's gift for building a scene, the film doesn't click until the third act, when Mos Def's performance as Dre's protégé appears to energize everyone around him.

In the end it doesn't lead to much beyond weepy melodrama. Still, McGuigan draws committed performances from a talented cast.

This very funny, very British movie -- directed by newcomer Garth Jennings -- has sci-fi effects that are impressive yet appropriately cheesy.

Visibly uninspired, Pacino gives a perfunctory performance -- though surely he must have looked over at Farrell and been reminded of himself 30 years ago, all jacked-up and beautiful, like a stallion at the gate.

When movie clichés are presented with rigor and feeling, they can pack a fresh punch.

A surprise hit in Thailand, the film is nonetheless a reductive mess.

Filled with the kind of frank, nonsensational sensuality that eludes American filmmakers, this movie proves again that the most interesting cinema about teenage life -- gay and otherwise -- is being made far from our provincial shores.

There's not a believable moment in all of it, but for a while the film chugs along on Ryan's innate charisma. Even so, no amount of movie-star twinkle could lighten screenwriter Cheryl Edwards' bizarre character arc, which finds Jackie turning, overnight, into a callous, possibly racist, ninny.

The killer in this nasty yet taut slice-and-dice 'em horror flick is a collector of eyeballs, which he removes from his screaming victims with an efficient single swooping motion of his talon-like index finger. If that image makes you grin not cringe, then this movie's for you.

Engrossing.

Intriguing yet muddled thriller.