The 3-D angle is the only one I can identify to justify Alpha and Omega not going straight to DVD.

In the end, Devil feels like an ingenious short film pumped up for theatrical release. Shyamalan's story is sound, but the execution dragged me to hell and left me there wondering if his much-rumored sequel to "Unbreakable" was ever going to arrive.

Once the rodeo's over, where do the sweethearts go? Beesley, thankfully, doesn't end the film with the end of the rodeo, but there's a potentially more interesting follow-up doc ghosting right behind this one.

There are good guys we don't care much about and bad guys that we do and even badder guys we're supposed to hate. But on the sliding scale of culpability, everybody's just a few clicks away from the next guy.

The film is never less than absorbing to watch. However, in the end, I think Catfish lives up to its namesake's reputation as a bottom-feeder.

The subdued characters I can abide, intellectually speaking, but subdued filmmaking with material this fundamentally gut-punching is a lot less easy to swallow.

The Virginity Hit is repugnant.

It's hard not to feel punk'd and trapped amid the company of jerks.

It pains me to say it, but Afterlife, the latest installment in this seemingly eternal zombie apocalypse franchise, is considerably more entertaining than George A. Romero's most recent exhumation.

Going the Distance has a tin ear and sullied eye: Nothing sounds or looks very good.

In the end, Machete may not be all that original, but it is fresh – fresh as a steel blade to the gut.

Has little of the wit, surprise, or memorable characterizations of the original.

Aided by a strong soundtrack by Corbijn's friend Herbert Grönemeyer, The American nevertheless seems more like a concept in search of a movie.

It runs the stopwatch on a chase sequence to a comical extreme and takes way, way too long to take its final bow, in the process burning off any residual goodwill.

The shock ending isn't all that shocking if you're a fan of genre films, but it's nonetheless effective despite the fact that it sidesteps several key questions. Never mind: It's hellishly fun.

Gratuitous in every sense of the word, this second remake of 1978's Joe Dante-directed/Roger Corman-produced "Jaws" knockoff is ridiculous summertime drive-in fun.

Lottery Ticket is ultimately no "Friday," but that 15-year-old film's communal vibe is clearly the model Lottery Ticket is chasing.

While this is hardly "Breaker Morant," it's nowhere near as mawkish or cloying as it could have been.

For American children, Nanny McPhee Returns may seem something like a foreign film, but the movie has enough spoonfuls of sugar to make the Britishisms go down.

Amiable fluff that takes its time learning how to walk, talk, and generally act like the kid-centric rom-com that it is.

Though the story played out in the national media, this documentary makes effective use of commentary by Tillman's survivors, who resent the way the military lied to them and exploited the memory of their loved one to serve an ulterior purpose.

You want vampiric satire with actual laughs? Try Mel Brooks' "Dracula: Dead and Loving It," "Love at First Bite," or even Roman Polanski's "The Fearless Vampire Killers." Anything is better than Friedberg and Seltzer's endless, bargain-basement, sub-Cracked magazine un-comedy.

Roberts, wearing that beatific half-smile of hers that suggests inner peace and wisdom before she's even begun her journey, is too open-faced with her emotions to signal the complexities of Gilbert's distress – over her divorce, her control issues, her rootlessness, and inability to live in the moment.

It's big, it's loud, it's dumb, and all things considered, it's not completely un-fun.

Wright takes the tools of a bloodless medium, the video game, and crafts an action-comedy with a true-blue beating heart.

In many ways, Animal Kingdom could have become a stylish but routine cops-and-robbers tale. Instead, Michôd shapes this film into a memorable character study about uncaged beasts.

Sure, it's nifty enough to see dust particles swirling or hands swooshing at you, but mostly the 3-D muddles the invention and exquisiteness of the film's raison d'être: the dancing.

Opens strongly and front-loads its best gags into the first third of the film. After that, the jokes begin to repeat themselves, and the plot becomes mired in unintelligible details of the white-collar crime.