Drew Taylor

It's utterly unconvincing and not scary in the slightest.

With just a little bit more prodding and elaboration, the movie could have been rich and evocative. Even if you don't believe what he preaches, the movie (at least) could have bordered on a transcendent experience. As it stands, it's pretty good, but not exactly heavenly.

Made in America proves that the American dream is undeniably powerful, even to those who have accomplished so much that they have to appreciate it in a form that borders on the abstract.

Ted 2 gives lip service to civil liberties and spends the rest of the running time picking the easiest joke to tell, again and again and again.

The results are a disturbing mixture of paranormal ghost story and psychological unease.

If Kiss of the Damned has one thing, it's an identifiable groove, one that is sustained and very, very infectious.

It can be said, with some certainty, that ‘Fantastic Beasts’ has finally found its footing. This latest entry is the most fun and most buoyant in the relatively young series. And it’s enough to make you actually look forward to a subsequent installment (should there be one) instead of actively dreading it.

Night at the Museum was always the best when it was closest to complete anarchy, tapping into the zippy, good-natured malevolence of filmmakers like Joe Dante, but here that energy is gone, replaced by a kind of sleepy noncommittal attitude. The magic has dried up; the museum is closed forever.

While The Town That Dreaded Sundown is ambitious and supremely weird, it fails to cohere into something more resonant.

All of the young actors are committed, and director Dean Israelite has a good handle on the material, offering his own contributions to the time travel genre (like how violent the act itself is) while continually tipping his hat to what came before it.

It'll get your blood pumping, before it starts spilling down your forehead.

If you’re not looking for reinvention and loved the first "Sin City," then you'll probably love this one too. It's a gorgeous-to-look-at, brain-splattered case of "more of the same."

Odd Thomas is a much better film than it's non-release would suggest. Hopefully one day it'll find it's audience and people will appreciate it for something other than just being better than "Phantoms."

Here everything feels limp – simultaneously over and undercooked. It doesn't leave much of an impression and every scare seems to be either some lame jump scare or a fright inflicted by the shrill score.

Digging Up the Marrow could have been an effective riff on Barker's "Nightbreed," but instead becomes just another found footage horror lark, with occasionally nifty effects and an overriding sense that Green's ego, and not a wonderful Ray Wise performance, is what the movie is really about.

Unfortunately, this low budget chiller is unable to capture the same kind of awe and terror that made "The Thing" so powerful, although its attempt to be more character-based and emphasis on practical effects is somewhat admirable. Somewhat.

It's hard to tell who is to blame for the movie's abrasive anonymousness – Curtis or Apted – but it hardly matters. In either directors' hands, Chasing Mavericks would have been a wipe-out. It's totally bogus.

It's a comedy so out of touch that jokes disappear before they're even delivered, as if by magic.

It’s a lifeless, meandering, overlong (116 minutes!) trudge through the oversized ego of its creator, full of wrong-headed humor and inept filmmaking.

Genre movies are rarely this finely calibrated and nuanced and it’s all too infrequently that Statham is able to perform in material this dynamic.

Under the Electric Sky shows you the transformative, incredibly positive power of dance music, but in terms of a movie, it falls a little flat.

Ritchie’s ‘King Arthur’ is a pleasing big budget spectacle, oddly aligned to the filmmaker’s thematic interests and startlingly compatible with his signature razzle-dazzle style. In fact, the soggiest moments in the movie are the ones that adhere the closest to that ambitious multi-film strategy, lessening the fun, and emptying its impact.

The Purge manages to be smart, scary, and subversive.

It's ultimately a convoluted, muddy (both literally and figuratively) and overlong bore that takes an intriguing premise and does absolutely nothing with it.

The movie is so apolitical; there could have been a nice slant to the movie, about how both sides of the aisle could get together to kick out these Korean terrorists. Instead, it remains totally void.

The story is so poorly-plotted, nonsensical, and misogynist that it's hard to imagine one person liking this material, much less millions of literate book lovers.

While the movie is not without its charms, there's nothing indicating that it's actually a Hammer movie.

Our Day Will Come is the kind of polarizing, in-your-face movie that we too rarely see in cinema these days.