Drew Taylor

V/H/S/2 is a whole lot of fun.

I Give It a Year groans on, with unmemorable scene after unmemorable scene, each one more contingent on coincidence and happenstance than by the actual, gear-filled mechanics of drama or comedy.

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.

As a documentary and a love story, Cutie and the Boxer is nothing short of breathtaking.

Barrett and Wingard are clever filmmakers, but unlike many modern day horror directors, their cleverness never gets in the way. There's an earnestness to the entertainment in You're Next that is truly admirable, and at the end of the day it's a super enjoyable way to spend an hour and a half.

Eden may be unpleasant, but it's not as grim as you'd imagine, and always compulsively watchable. If only all issue movies were this entertaining.

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

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

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

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

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.

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.

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.

Rubberneck is a thriller too drab and self-obsessed to ever be truly thrilling.

Alien abductions are a truly terrifying idea, and building an alien abduction movie on the template of "Poltergeist" is a great idea. But "Poltergeist" had one thing Dark Skies is sorely in need of: follow-through.

Snitch is just a big, dumb, ugly-looking waste of time, one that turns one of cinema's most charismatic heroes into a restless drone. As they say in the joint: snitches get stitches. But Snitch deserves to be put down for good.

Quite frankly, The Jeffrey Dahmer Files would have been better if it had a little more meat on its bones.

Writer/director Richard LaGravenese tries his damnedest to deftly navigate the clunky plot, and while it's not exactly a home run, it's still an incredibly stylish, evocative, edgy (was that an incest reference?) and frequently funny (there's even a Nancy Reagan joke) Southern Gothic romance.

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.

The picture's conspiratorial late-night tone and fleshy after hours luridness was practically built for watching at night, when our parents think we've gone off to bed (think '80s films directed by folks like Adrian Lyne).

This newest film is an undercooked potboiler, one so tastelessly bland and visually indistinguishable that you wonder if anyone associated with the project realized what makes cheapo crime fiction so fun to consume.

A gloriously decadent, gorgeously photographed melodrama – a movie where people burst into tears and act very badly towards each other, all while wearing really fabulous clothes.

There are filmmakers who are able to weave social commentary through the arena of big budget entertainment, without having it come across as lopsided or boring; Allen Hughes, it turns out, is not one of these filmmakers.

Overall, there is a fundamental lack of excitement or energy; it's a 95-minute movie that feels twice as long as "The Hobbit."

In terms of pure pop entertainment value, you'll be hard-pressed to find a more smartly constructed, beautifully shot, pulse-pounding movie this holiday season.

Apatow indulges in his freeform tendencies to a particularly destructive degree with This is 40, resulting in a movie in which the ambitions are only equaled by the shortcomings.

Watching Deadfall really is like being trapped in a blizzard – the cinematography is so muddy you can barely make out what's going on on screen (besides the bright splashes of blood) – you're antsy to be anywhere else but where you are.