Gabe Toro

The film’s dismal action staging and over-complex story can’t seem to overcome Mr. Fairbrass’s lo-fi presence.

Van Damme’s an arresting presence in his old age... His performance is a wonder, showcasing a man who has never found his physical equal, and how amuses himself by telling stories that ultimately mock opponents.

For being a kids-centric film, the picture is relatively slow and joyless.

Despite the affecting drama and performances, Run and Jump just never feels more that perfunctory in this regards.

Wanting to create a leading character worth rooting for, and experiencing the schadenfreude that comes from her failure, is a complex balancing act, one that Adult World simply cannot pull off.

He (Fishburne) rips into his dialogue like steak, savoring every word as if he were paid by the syllable. For a moment, we’re in a different movie, one where someone has decided to singlehandedly deconstruct a cliché. It’s a very short moment.

The picture isn’t plotted with story beats, only shock moments.

You get the feeling that if there were less fighting and more character work, not only would Bell knock it out of the park, but Raze would be a better, more interesting movie.

It’s easily the most suspenseful American film of the year, a thriller that feels like lightning across a quiet night sky; sudden, terrifying, and excitingly singular.

It's all very cheap, wholly unconvincing, and loaded with dull narration.

Caught In The Web grows slack as its premise evolves.

With its broad, ambiguous title, S#x Acts reminds us, with heartbreaking power, that sometimes vigilance just isn't enough, and all it takes is an "act" or two to change a life forever.

Ultimately of course, this is Statham’s show, and as always he doesn’t disappoint.

Lenny Cooke isn't a documentary, it's an autopsy, detailing exactly why Cooke vanished off the map and why he struggled to get back into the game, a focus that goes micro where other sports docs go macro.

The Starving Games is the sixth directorial effort from Jason Friedberg and Aaron Seltzer, and they are nothing if not consistent.

LaBute has consistently made intriguing, often idiosyncratic films in his career, but he hasn't made anything this unsettling and unforgettable in a very long time.

Takes the standard gangster movie template and blasts it out of the water.

It’s as if “The Man Of Steel” was ninety minutes of supervillians shit-talking Superman, then casually sticking kryptonite in his face without even pretending it’s a surprise.

Escape Plan deserves some credit for gradually rising from abysmal to almost-mediocre, though it’s needlessly complicated in every step of the way.

Forgetting the Girl ends up building towards a massive revelation, one that suddenly gives up the ghost and allows the film to define itself as one specific genre. Not romance or thriller or comedy, mind you, but that type of indie that plays peek-a-boo with its topics for long enough before springing something that allows the final twenty minutes to be occupied by bargain-basement pop psychology.

It’s an ugly, unpleasant viewing experience, one that sees geek culture as a hateful cesspool of exclusion and juvenility, miserable to experience first-hand.

Like its predecessor, Machete Kills is never less than busy with ridiculousness.

This is a frequently titillating film, and Weigert can’t help but add dimensions to that onscreen intimacy and vivid exploration of intimacy, not just seduction but also the shared sensuality of a post-coital chat.

Bad Milo! is ultimately a fairly pedestrian film, but in those moments where Milo takes action, if you squint, there’s just a little bit of that old-fashioned movie magic.

This is the sort of movie that should be playing in the background on an episode of “Tim And Eric,” and yet instead it’s being released by IFC Films. Bring alcohol.

The workmanlike precision of On the Job carries through to its action scenes, none of which are shot with any flash or style, but are edited with a propulsive pace and performed by a watchable cast enough to make them engaging.

Michell’s handling of the relationship between the two is touching in how little judgment he passes.

Exceptionally gorgeous and exceptionally silly.