Tasha Robinson

Men is nearly unique as a horror movie in Harper’s specific response to the threats she faces. But even as she parts ways with the usual wailing victim image, the film still holds onto its sense of the uncanny and horrific. Even seasoned body-horror fans may be shaken by where this film goes in terms of its bloody physicality.

A surprisingly intimate behind-the-scenes documentary.

At its best, Brave accesses all the complicated feelings involved between a parent and a rebellious adolescent: the mutual frustration, the lack of communication, the way conflicting desires can mask love without weakening it.

The convincing child cast carries the film when the scares start to feel redundant.

The premise seems profound, but the claustrophobically inert execution lacks reach or imagination.

Greenstreet's film at least serves as a reminder of how useless public debate becomes when everyone's screaming and no one's listening.

It’s appropriately goofy given the premise and the structure, but a brisk pace and a committed cast turns it into a diverting indie horror-movie spin on a familiar gimmick.

This is a movie where the craft dominates the experience, which is thrilling for people watching for the artistry, but less convincing for viewers focused on the story.

Birth Of A Nation is powerful and effective, but it's spectacle that can't humanize or define its subject.

Trumbo’s writing was so terrific, the film emphasizes, that it outweighed his caustic personality, his unfashionable politics, and the career-threatening dangers of working with him.

It’s an out-and-out triumph, an adrenaline blast of pure action and emotion that lives up to its predecessors and ably forwards the MCU story in memorable and even touching ways.

While The Fault In Our Stars is more pastel watercolor than hard-edged drama, it’s still hugely warm and winning, thanks in large part to Boone’s unfussy, wistful direction.

The film unravels a bit in the last few moments, amid unanswered story questions and a simplistic climax, but until that moment, Redbelt is Mamet's richest film of the decade.

The entire film vibrates with understated tension, but almost never raises its voice above a hissed threat or a discomfited mutter. For a film with so many life-or-death choices on the line, it’s almost perversely passive.

Chicago 10 is a lot of fun, but it could stand to take its subjects a little more seriously, if only because they themselves are so frequently goofy that mocking them is complete overkill.

The Wild Thornberrys Movie's heart is clearly in the right place -- but the Thornberry family's grotesquely huge heads, jutting teeth, stick limbs, and mismatched bodies look even more improbable and unpleasant on the big screen than they do on their TV show.

Ultimately, the problem with Infamous isn't that it revisits Capote's turf--it's that it does the same things well, and leaves the same unsatisfying holes.