A mildly engaging and roughly historical action picture.

Never achieves the satisfaction of a real crackerjack con movie.

This remarkable adaptation of the supposedly "unfilmable" novel by David Mitchell achieves near-perfection on virtually all levels.

Watching this vaguely preternatural, shoddily animated interpretation of a beloved character parade around really makes you feel the disconnect between page and screen.

This film is more a love story about the marriage between Hitchcock (Anthony Hopkins) and his wife, Alma Reville (Helen Mirren), rather than a historically accurate backstage look at the making of this important movie in the Hitchcock filmography and the American psyche.

Stays on its feet through all the rounds, but it never “floats like a butterfly.”

When Murray's around, he's the only hot dog in the room.

The narrative trick that worked within the narrower confines of Krista seems almost absurd here, a leaden feel-good ending that sits at complete odds with the formless opening. Beast Beast is far better when it's abstract and observational, drifting somewhere between the wistful compassion of Jonah Hill's Mid90s and the sociological immediacy of Larry Clark's Kids.

To be fair, at least Old captures the sense of time passing past too fast: Rarely have I felt more like my life was slipping away in the cinema.

Dark Shadows seems more like a mash-up of leftover ideas from "Beetlejuice," "Edward Scissorhands," "Sleepy Hollow," and "Sweeney Todd: The Demon Barber of Fleet Street" – but they're ideas without the souls of characters.

True to Canadian stereotypes, it is a polite evisceration: a slap and a tickle, as it were.

The film’s resolution is more implied than complete.

Loud, abrasive, and featuring performances seemingly calibrated to be heard over the cacophonous roar of Travolta's mad, bad overacting.

Remarkable and enlightening.

Camp has also been compared to Alan Parker’s "Fame," which operates with a similar love of behind-the-scenes melodrama and youthful idealism, but different in that it doesn’t induce brain-swelling revulsion in the viewer.

A solid contemporary crime drama.

While the Occupy Wall Street rage supposedly fueling this thing is flimsy, what’s left is still solidly entertaining.

As the whimsical setup in Yesterday deteriorates until its unimaginative conclusion, the familiar Lennon/McCartney collaborations (along with a couple written by Harrison) provide the only solace, timeless songs that make it better. Viva Los Beatles!

This movie presented a radical melange of genuine horror and self-aware comic touches, not to mention the fabulous Rick Baker special effects.

Look, I can’t even pretend like Ambulance is great movie. I can’t even say it’s good, but, and it’s a really big but here, I can say for more than half of the run time, I was entertained.

It's the narrative equivalent of Twitter: so much there, but nothing going on.

Annaud (The Lover, The Name of the Rose, Quest for Fire) may be, with all due respect to Stanley Kubrick, the most talented adapter of literary source material in recent film history. Seven Years confirms his mastery by doling out a perfect ratio of moving interpersonal drama and visual enchantment.

The direction and performance do the heavy lifting, but we have seen so many versions of this movie in recent years – films about mourning characters in a spiral of death and demons – that it is admittedly hard to engage honestly with a film that falls into the same traps.

Screenwriters Nina Fiore and John Herrera have modernized Keene’s decades-old storyline without completely chucking the quaint qualities of the original.

It’s the same thrill as the Final Destination movies, which Egerton and Hardy have both noted as an influence: watching likable protagonists try and sometimes fail to evade death.

The magic of this Neverland is knowing we just have to believe and we will always be able to fly.

Never thrills on an emotional level the way the best of sports films – a "Hoosiers," say – can, but it's a satisfying entertainment nonetheless.

It's Teen Witch for the Nineties: dark, brooding, dangerous, and, come to think of it, a lot like high school.