Drew Taylor

3 Days to Kill might not be art, but it's better than most of the overtly violent action fare that litters the multiplexes these days, thanks largely to the fact that its heart is almost as big as its explosions.

He's a romantic and a psychopath and creature of the night. Sadly, Dracula Untold, with its humorless aura and been-there-done-that feel, doesn't allow Evans to inhabit many of these aspects. Instead, Dracula Untold feels largely uninspired.

Oplev composes shots with grace and an understanding of where everything is geographically and how scenes relate to each other in the multi-threaded plot. Like everything else in Dead Man Down, his direction is beautiful and brutal at the same time. Whoever thought that this movie would be as entertaining as it is existential is either lying or psychic.

Thankfully, as the movie goes along, he tempers his bloodlust, instead engaging in sequences that up the suspense and terror while not exclusively luxuriating in the bloodshed.

It offers a handful of effective moments and some characters that are fun to watch squirm through muck and bones, but not much more than that, especially when the films spins out of control towards its conclusion.

It's a testament to the movie's lack of creativity that Anderson can't even rip off "Aliens" and have it come across as anything less than totally boring.

A dumb, loud action movie that aspires to forcibly entertain and provoke thought but fails miserably.

Tammy is a boring, unfunny road movie that limps along idly, consisting of a string of nonsensical set pieces and halfhearted stabs at character development that come across as off-putting and odd.

When Planes really takes flight, it can be boldly transporting. Other times, though, it feels like it's running low on jet fuel, full of limp characterizations and questionable set pieces.

The characters are so two-dimensional that a meaningful connection with the material isn't elusive; it's downright impossible.

Whether or not you've steeped in film noir lore, Hotel Noir still plays like an enjoyable little thriller.

If "subtle" horror movies are going to be this devastatingly boring, maybe it's time to bring back the buckets of blood.

Chun admirably attempts to make each thriller-y motion mean a little bit more. But oftentimes he fails, and the back half of the movie is filled with perfunctory suspense set pieces, doused in blood and full of trauma, that leave little impact.

At 100-minutes, the movie drags and drags until finally losing steam in the last act and then collapses into a pile of worn out platitudes, limp gross out gags and gooey sentiment.

The original film was unpredictable and loose and every so often gave up the aura of dangerousness. If anything, the sequel is a tepid, watered down, and at 100-minutes oftentimes boring attempt to recapture the magic but without any of the whimsy.

With long stretches (we're talking 20-30 minutes) without a single guffaw, Identity Thief is aggressively dull, and will joylessly steal two hours of your life that you will never get back.

Lynch has a sure hand... The camera moves but never feels overly active, and within the first few minutes the geography of the apartment is so brilliantly laid out that you feel like you could navigate your way around blindfolded. It has a nice tempo, with the appropriate lulls in the action and some surprising reveals.

There have been some reports that this is the last entry in the series, but it feels like the franchise is (finally) just getting started. "The Expendables 4" anyone?

It’s the kind of garbage that does a disservice to the fearless possibilities of the horror genre and its knack for sly social commentary.

It's an absolutely horrible, amateurishly assembled comedy that is more offensive than just about anything we've seen lately, a non-stop parade of racist, homophobic bile that would be bad enough from any comedian, but coming out of Ferrell and Hart has the effect of watching a childhood hero committing some horrible act.

The Smurfs 2 doesn't even pretend to be anything more but the most base, sugar-coated family entertainment, the kind of things that parents won't even be able to comprehend, much less enjoy.

If there's a problem that gets in the way of some genuinely scary moments, it's that the filmmakers (all four of them) don't ever give you enough information to invest in the characters.

Completely forgettable, Hellions is far less cool, smart, and scary than it thinks it is.

For a movie that tries to create and sustain a sensation of wild unpredictability, it's a huge failure. It's not shocking if we've all seen it a thousand times before. With 21 and Over, it's all been there, drank that.

No matter how good The Mortal Instruments: City of Bones looks, it's hard to really care about anything that's going on, and not just because we could barely understand it.

Unfinished Business is the type of movie that is so awful that as it rolls along (its 91-minute runtime feels agonizing) you get more and more restless.

Bringing someone back from the dead is one of the horror genre's oldest and most effective tropes, but with The Lazarus Effect, it just seems tired.

A movie that is, in its subtle way, as offensive and mean-spirited as anything Sandler has done, but in a way that is so cuddly, there's the possibility it could, somehow, go unnoticed.