Wolf Creek (much like the new Saw horror franchise) exists for no reason other than to inflict an acute sense of inescapable and inscrutable torture upon the story's victims – and, by extension, the audience. If that's what you're into, Wolf Creek should be a satisfying assault.

Best yet, there’s a mid-film bedtime story, made to look like stop-motion, that’ll take your breath away.

Lost's Evangeline Lilly remains lost, however, in this film role as Charlies's too-good-to-be-true romantic interest.

For No Good Reason comes alive whenever the camera sits back and records Steadman attacking a blank piece of paper.

This is no more (but no less?) than what we have rather oddly come to expect from Neeson in his late period (Taken, The A-Team).

What The Rum Diary lacks in narrative astonishment it almost makes up for in boozy charm. Depp, Ribisi, and Rispoli are a sight to behold.

Refreshingly anti-princess and sweet without degrading into sugary, Ramona and Beezus animates Ramona's frequent flights of fancy with DIY-like sequences that literalize, quite charmingly, how a kid colors the world.

Filth seeks to eventually gain your sympathies, tricking you to care about a character who’s just dragged you through the gutter of human depravity for the last 90 minutes, only to offer up an absolution that, while attempting to be dark and edgy, is just flat and unconvincing.

This Native American romantic comedy, which won the Audience Award at the 2001 Austin Film Festival, arrives in theatres four years late but seasonally right on time.

Too much is tossed into the ring and the last hour becomes a frantic swell of emotions and ideas, not all of which are exactly on point.

Seeing what St. Andrews’ greens must have looked like in their native days before all golf courses became zealously manicured is refreshing. The film’s action, however, is rarely filmed in a way that highlights the action, and the story’s biographical elements lack dimension and drama.

Predictable as sunburn on the 4th of July, it is a film as ingratiating as its star. Visiting the town of Grady is a fairly pleasant pastime, but there's no excuse for a film this light to last over two hours as this one does.

Hereafter is a consistently identifiable Clint Eastwood movie only in the sense that the prolific filmmaker shows that he still has the ability to confound our expectations of him.

The Croods: A New Age takes wacky, weird turns, and yet somehow still manages to be dull and lifeless.

In the movies, black comedy is a difficult proposition: it's a genre more suited to a ten-minute sketch than a two-hour film. For every brilliant black comedy like Dr. Strangelove, there are a hundred duds. Unfortunately, the $50-million-plus Death Becomes Her doesn't quite make the grade either, although its wicked take on modern vanity is often hysterically on-target.

The most lackadaisical thriller I've ever seen, overly infatuated with not only the inexplicability of random evil, but also its mundanity.

It may not be art, but it's vastly more entertaining than anything Coppola senior has done in far too long.

In the end, Meadows' film lacks the bite it needs to make us care about this oddball trio, endearing though they are.

Strives to be an inspirational depth charge, but its power is consistently waylaid by some genuinely hokey dialogue and situations.

It's a movie perfectly designed for tossing back popcorn (the jumbo kind so you don't have to leave your seat during the show); not until later do you get the empty feeling that you've swallowed an entire bucket of popped air.

Some of The Anniversary Party's titillation factor rests on the awareness that these are actors playing actors, in roles written specifically for them that at times appear awfully close to home.

The Coen brothers’ newest is an odd amalgam of tics and stutters that plays like something of a greatest-hits reel but never seems to jell into a real comedy.

Petersen, a director who knows his way around a crane shot better than almost anyone, rallies his troops but can't ignite his actors, and the end result is the sound and fury of Homer undone.

For the 10th entry in such an unlikely franchise, it’s hard not to get wrapped up in all of the typical mannerisms that grant this series its identity. Even when the Fast films are stuck spinning their wheels, they still have their foot firmly on the gas.

Imaginatively, it places all the known elements of the story in different contexts, completely recasting this familiar fairy tale into a more poignant and resonant work.

The supernatural elements brush up against some heavy topics, some actual real-life horrors, but like any encounter with a ghost, Angelica is likely to simply leave you cold.

For those viewers who can relate to Melanie's and Jack's lives, One Fine Day offers light-hearted romantic fun, but for younger viewers the film may not quite hit the mark.

Stuff the cork back in: This wine movie was sold before its time.