Drew Taylor

What's interesting about Proxy is that it plays with all of the ephemera associated with pregnancy – the way that a person's psychology can warp around it – but too often gets bogged down in B-movie clichés and an unnecessarily convoluted narrative that strives for profundity but comes across as crass and dull.

It's a different kind of Disney sports movie, more textured, gently spiritual and warmly idiosyncratic, but one that still, before the credits roll, will make you want to stand up and cheer.

If The Protector 2 was dour, then it would also become totally unconvincing. Sure, it's silly, but it's also wildly entertaining and sprinkled with some nice emotional beats. As long as Tony Jaa keeps losing his elephant, we'll keep showing up to watch him track it down.

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.

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

In Brick Mansions Walker is understated and tough, a continued testament to his frequently overlooked accomplishments as a performer. You just wish the movie surrounding him was better.

What's amazing about the documentary, though, is that it's oftentimes just as engaging as the Disney bears that play in jug bands or crave ooey-gooey honey.

Draft Day isn’t a movie that is going to change lives or shift paradigms, but it is entertaining, and assembled with care and attention to detail.

You get the sense that Rio 2 wasn't thought through as much as it was quickly cobbled together as it went along, with a simple, clearheaded goal in mind: just make it good enough to warrant a "Rio 3."

Even without an active political component, Island of Lemurs: Madagascar, on a purely visual level, is one of the more amazing things you're likely to see in a theater this year.

What makes Joe Berlinger’s riveting new true crime doc Whitey: The United States vs. James J. Bulger such an eye-opener is that it isn’t just about a bad guy who did bad things, but the layers of corruption and moral ambiguity that stacked up on both side of the law.

It's a new vampire classic, one to treasure endlessly.

Unlike most movies that use the current economic crisis as a dramatic backdrop, Healy's character is vibrant enough that the audience can make an easy connection and go through the journey with him.

It's easily the scariest movie since "The Conjuring," and in some ways is a deeper and more satisfying film. It's stylish but not showy, more concerned with the thematic undercurrents coursing just beneath the surface.

While the more down-to-earth Chef does offer some fascinating autobiographical dimensions, the film is also an overlong, unfunny, largely insufferable bore.

Neighbors is one of the funniest, most visually inventive studio comedies in recent memory.

As pithy and sharp-witted as the screenplay is ... the direction by series creator Rob Thomas ... is oftentimes flat and visually dull. ... And so the movie, is more than anything, a bold and breathless work of fan service, configured by the creators of the original series for the maximum enjoyment of the fans of the original series.

It's the accumulation of a set of ideas that a bunch of creative types and executives think would be clever, instead of something that actually delivers on an engaging entertainment level.

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."

Non-Stop isn't exactly a smooth ride, but as far it being the big screen equivalent of an airplane novel, one that you read on the flight and throw away when you get to your destination, it is wildly successful. Just don't think too hard about it.

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.

The entire movie feels belabored, lumbering from one awful, over-dressed set piece to another. It's wrongheaded, it's horrendous, it's filled with lines of dialogue that are utter howlers, and yet, it's the type of movie that feels so confident that it really is something. It is, in fact, not.

At the very least, Fantastic Fear of Everything has a fantastic central performance. And sometimes that's enough.

The Lego Movie is an absolute blast—a whip-smart, surprisingly emotional family film where the toy property is seen less as a concrete template than a tool for seemingly limitless potential.

Turns out it was even trickier than originally imagined and that for all of its best efforts, The Monuments Men remains an unwieldy, overtly sentimental (but still emotionally distant) epic.

24 Exposures has a handful of interesting ideas, and a lot of cute topless girls, but it doesn’t add up to much.

This movie is a corpse in desperate need of reanimation.

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.