It's wrenching stuff. If bits and pieces feel contrived (and they do), overall the message is strong — and important.

A lot of fun for horror fans, a nice little jaunt through paranoia and conspiracy theories.

Statham probably isn't going to be doing Shakespeare anytime soon. But everybody ought to be good at something, and when it comes to this kind of thing, Statham is very good, indeed.

The results of her work are predictable yet pleasantly played out.

Queen to Play falls somewhat into the "Pygmalion" template, but watching Bonnaire's Helene find herself makes it worthy in its own right.

Regardless of politics, it’s fascinating to see how the White House works.

You wouldn’t want Kill Your Darlings to be the only information you ever get about the Beats. But it’s a decent introduction for the uninitiated, and interesting enough to those who know the story.

The characteristics that make Evolution an intriguing piece of cinema also make it a not entirely successful one.

It's always entertaining, and it boasts a terrific performance from Sara Forestier.

Tarantino seems to have no shortage of creativity or inspiration. What he needs to find is someone who isn’t afraid to occasionally say, “Cut.”

Co-writer and director Chris Peckover clearly knows his way around both the holiday and horror genres, and while this isn’t the first time someone has blended the two, it is one of the more-effective efforts. It’s scary and fun, if your idea of fun involves occasional gore and torture, things like that.

Logic devolves, cameos abound — there are two that are truly inspired, one of which involves legendary recasting — and lessons are learned.

Darren Aronofsky’s film pretty much defines “not for everybody.” He is here to challenge the audience as much as entertain it; happily, he does both, and with no half measures in either department. It is intriguing, frustrating, bizarre and over-the-top — way over. And yet when you leave, you can’t deny: There is a lot of movie going on here.

Despite predictability, flashback hopping and cheesy lines, Adrift takes viewers on a trip through beautiful cinematography and gut-wrenching performances that are worth seeing.

Like a greatest-hits album, it's not as deeply satisfying as an artist's best work (try Yen's "Ip Man"). But it will keep you entertained.

There are some genuine scares, some gross-out moments and some heartfelt scenes between Julia and Lucas. The atmosphere is so thick you can touch it. This is a good movie and an interesting concept. But it’s not any fun at all.

[Poitier] does a surprisingly strong job of directing (his initial attempt) this well-written, meaningful script by Ernest Kinoy. [16 Jun 1972]

As an exegesis on tortured creative genius, Harmontown proves wanting. It's in the exploration of how "Community" fandom formed its own distinctive community of outcasts that the film excels.

Laurel and Hardy embarked on their tour to stay relevant in the public's heart. Through this delightful representation, a new generation of viewers can experience their timeless comedy.

Machete is insanely violent, insanely over-the-top. It's pretty much flat-out insane.

The pacing and writing are as smart as the film's title. Early moments are worth a chuckle, but the laugh-out-loud, top-shelf jokes happen when night falls.

That American Ultra works as well as it does is a testament to its two lead performances.

It’s a dark comedy about class warfare, government overreach and infectious disease. It’s a lot more fun than that sounds.

It’s a compelling journey into the deep, if a meandering one, guided by a moral compass that operates by a different magnetic field than our own, and often leads astray.

Marvel at the audacity of Nørgaard and his cast, of how far they are willing to go for a laugh. It's a bumpy ride, but for those with the stomach for it, it's an entertaining one.

It all falls ultimately to Keough, who is outstanding at portraying the duality of a character, a duality the story demands.

Eventually, all of the stories will come together in a somewhat contrived way. The film's parts are greater than the whole. But the parts are worth the effort.

To say Bennett carries this film on her back is an understatement. She takes on the challenge of depicting romance, passion, grief, strength and perseverance.