It's pure Bedlam, but for genre fans, Scorsese makes it feel like coming home.

Remarkable debut feature by New Yorker Ben Younger.

Simultaneously creepy and hilarious, this is the perfect slice of Grand Guignol for a humid summer's night.

Unabashedly warped and horny, Morgan knows exactly when to set off the depth charges lurking in the waters of Bone Lake, making its big, filthy reveal feel like the inevitable result of the characters’ urges.

Likely to be remembered more for its method of manufacture and release than for any inherent qualities of its own. It will also become one of the many fascinating footnotes in the always provocative career of Steven Soderbergh.

Despite a third-act tendency to gather a few spare genre clichés as it rolls along (Guns! Drugs! Angry siblings!), Robinson's film is a cut above the rest.

A loving, gory, ribald slasher flick that is both serious about the genre and gruesomely ridiculous.

It’s an enjoyable enough exercise in teen angst triumphing.

It has a classic Hitchcock scenario in which a man is mistaken for a murderer, but the film lacks humor and suspense. Even the great cast is unable to make much headway with this torpid thriller.

The finished product is two hours of fist-clenching action, suddenly violent and steadily horrifying.

Severance is a British horror-comedy that, from the get-go, has two distracting strikes against it.

Araki's self-described “guerrilla” style of filmmaking has just the right edge here, yet is polished enough not to distract. In this respect, Totally F***ed Up is a much better film than Araki's last effort, The Living End. Although the teenaged ennui in the film sometimes comes off as hip nihilism, there's no question that the pain and turmoil depicted is anything but heartfelt.

A humble comic fable, puttering along with a sunny grin, a goofy sentimentality, and not much else.

One of the most eloquent tales in ages of dysfunctional love – between a man and his ideals, between a country and its government, and, in the end, between Evey and V.

Starts off promisingly by empathetically depicting the fear and anger children feel when their parents separate, but ultimately its human emotions are dominated by goblins, trolls, and other CGI-generated creatures running amok on the screen.

There are worse accusations to hurl at a filmmaker than that she has too much empathy for her characters, but in the case of Oh, Hi!, it stymies the potential in its provocative premise and holds a pretty good movie back from greatness.

The movie offers glimmers of truth about the aging process, but there is always the sense that Moss only wades knee-high into this river.

Adamson's pulled a more morally nuanced rabbit (or badger, actually) out of his directorial hat this time out, and the result is a far more engrossing film than its predecessor.

A model and artist’s muse turned photographer who shot unforgettable images of Europe at war, Miller was then largely forgotten by the establishment, until her son revived her work after her death in 1977. Underappreciated in her time, one wishes better for her than this underwhelming biopic.

Solo is at its best when it keeps to the basics, and does them subtly.

A pleasantly vicarious slice of summertime falderol, innocuous in its presentation and often genuinely fun.

The film provides more of the same and nothing startlingly innovative, but what's here is good.

Weaver essays the new hotmama Ripley with wry, good humor -- you can tell she's having a ball playing this unstoppable die-cast she-wolf.

The window Hollywoodland offers into old-style workings of the company town is fascinating to behold, however the film doesn't always know where to direct our gaze.

Just when you're about to give up on this seemingly sorry excuse for an action movie, the picture does an about-face in a matter of minutes, and pushes the tension level way into overdrive and transforms suddenly into a solidly entertaining thriller.

For a heavy-duty subject, Call Jane is anything but, moving along almost like a lighthearted Lifetime movie.

One of the most intelligent, engaging, and gut-bustingly funny revelations to come along in a while.

The movie is, ultimately, a fascinating victim of its own ambitions.