Once the twist becomes apparent, the film stops being scary and you stop caring about Sarah, despite Olsen's graceful performance. It's a shame. If the film stayed on track, it might have been come close to being a classic. As it is now, it's a huge missed opportunity.

It's all too much, and it's too hard to follow. Less is more, and this movie proves it.

Brown is a sick man, but Harrelson makes him so interesting, so charismatic, so ... watchable, that you can't look away, even if his actions make you want to (and they will).

There is no denying that the environmental message is heavy-handed.

The kind of fantasy that a 15-year-old boy would love, although parents probably should keep younger teens far, far away. This movie pushes the boundaries of its R rating about as far as they can go.

Newton's character is the only one we really become invested in. At least that's something. But Good Deeds leaves you wanting much more.

Wieckiewicz is outstanding, his open face expressing a full range of emotions, often within the same scene, sometimes within the same conversation.

Beyond the shooting and running around, the film works because Beattie never loses the perspective of Ellie Linton (Caitlin Stasey), through whose eyes the story is told.

It would benefit greatly from having real actors in the major roles. That the bad guys -- who are actors -- are more charismatic is certainly not due to the fact that we are on their side. It's because they know how to make us want to watch.

It's not a top-shelf Apatow production, and by the end, it's obvious Wanderlust was a lot more fun to make than it is to watch.

The production is nice looking, and telling the Edward-and-Wallis story from her side is an interesting idea, but it's one that Madonna simply can't pull off here.

It's an entertaining film and a deceptively gritty thriller, and Kinnear conveys Mickey's mounting desperation in winning fashion.

Individually they are all good here, though Hardy's skills don't necessarily translate that well to romantic comedy -- which could have been used to good effect, but McG doesn't have the touch to pull that off.

Chronicle plays like an extended episode of "The X-Files" might; DeHaan in particular comes off like one of the series' more-memorable characters. That's a compliment. It isn't a great movie, but one could imagine -- and hope -- that it becomes a cult favorite, outlasting other films of its ilk.

For anyone with an interest in dance, Pina is a must-see. For anyone not interested in contemporary dance, Pina is a should-see. It could change your mind.

Too often Washington is made to simply sit and observe -- which is not a fatal mistake because he is such a good actor that even then he's worth watching. Worse, though, at times he's gone altogether. That's not the only flaw in the fairly straightforward thriller, but it's the biggest.

The look of the film is impressive, as are the effects. Overall, however, it's a big, loud, 3-D-drenched jumble.

It works, both as a character study and a BOO! made-you-jump exercise in horror.

A great movie, a look inside a world so foreign that it might as well be another planet, yet so universal that its observations are painfully familiar to anyone, anywhere.

Subtlety may not be Watkins' strong suit, but he knows how to frame a scene for maximum tension and dread.

It's not easy to make such a downbeat movie compelling, but that's what Ramsay, with great help from her star, has done.

Close's performance is a study in repression -- too much so, really.

Too bad. You sense that someone could have made a good movie with this material. Unfortunately, Leth didn't.

Don't be mistaken -- this isn't an artsy thriller. It is still, at heart, men vs. wolves, and the wolves definitely have the home-court advantage.

Perhaps the movie's most surprising feat? Somehow, the darned thing mostly works, probably because its heart is in the right place.

Luckily, Horn is so good -- as is Max von Sydow, in a wordless role -- that the film resonates in spite of the tear-jerking strings Daldry pulls.

In truth, the story isn't much. Just betrayal and revenge, basically. But a couple of things make Haywire a lot of fun to watch. One is the cast.

The performances, by Brenda Blethyn and Sotigui Kouyaté, are outstanding.