Every frame of silent, lip-biting, pent-up tension in the series has been holding its breath for this -- a 600-minute soap opera suddenly exploding into a Grindhouse slasher.

The more pressing affliction in Pascal Laugier's film is the absence of chills, logic and coherence.

The film is a really entertaining look at the Bieber phenomenon; the music in Never Say Never is great and Bieber proves himself to be the real thing as a musician and performer.

Is the result - a slapstick, bizarro melodrama where Ferrell plays the Mexican born and bred scion of a wealthy farmer - meant more for Spanish speakers or stoned and giggly Americans? It's a tough call.

If there was ever a horror film that made fans of the genre feel old, it's Scream 4.

Waltz is the highlight of this glossy but plodding drama, a live wire in a movie that sorely needs a jolt.

What this predictable tale lacks in surprises it more than makes up for in charm, good music and the indelible performances of Alessandro Nivola and Abigail Breslin as father and child.

Safe House isn't the most original of plots - it feels like a loose amalgamation of ten other spy flicks - but director Espinosa infuses his production with some bold choices, both in terms of technics and twists.

The story behind brothers Logan and Noah Miller getting their movie made is almost better than what’s onscreen, but the film is heartfelt and engaging enough to be worthy of attention.

Burns captures the look and spirit of the times with perfect detail.

This Americanized version of the 2008 Nordic thriller "Reykjavik Rotterdam" transfers the original's gritty, violent action into an entertaining and intense starring role for Mark Wahlberg.

Bottom line: It's a good one, fresh, funny and vintage Woody.

Not quite the yuk-fest one was hoping for or as perversely alienating as "Observe and Report," Due Date shares the schizophrenic quality, though not the numbing length, of another Seth Rogen movie, "Funny People."

It's a real film, and a fun one, made with gonzo good humor and plenty of action from the opening brutal battle over which the sound of The Wu-Tang Clan's 1993 single "Shame on a N***a" roars.

Offers very little new for those who saw the original.

A winning cast and solid writing from screenwriters Keith Merryman and David A. Newman (Friends With Benefits) should appeal to men and women alike.

David Lowery's St. Nick provides plenty to marvel at.

Predators is sometimes silly and hardly original, but it delivers the thrills.

Two hours of femmepowering wish fulfillment.

Holy Rollers is mostly a marker being put down by some talents to watch, especially Eisenberg, who is greater than fans of "Zombieland" could have imagined.

This over-the-top sequel caters to the lowest common denominator in the best possible way, and it's so fully committed to brainless bombast that it muscles audiences to applaud by sheer force of will.

Both emotionally charged and at times extremely funny, with humor emerging naturally from the characters' predicaments, Meet Monica Velour has the feel-good factor without comprising its ideals.

Likely to resonate with a generation of young people to whom "When Harry Met Sally's" orgasm scene seems downright quaint.

Even better than the first edition, in its own sitcom-ish ways.

The film's biggest (and saddest) crime is malaise - it's not that John Carter doesn't care about what it's doing, it just can't make us care, even though the magnitude of every event, conflict and emotion is as melodramatic as its Victorian roots.

Why is Emmerich elbowing his way into the conversation about Shakespearean authorship? Because the debate is explosive - and he can't resist packing on a few more pounds of dynamite on his confident drama of incest, greed and beheadings.

This depraved charmer offers enough to admire and a specialized hipster crowd will enjoy it, if to a mutedly positive effect.

The dark is not threatening, and metaphorical darkness is even less so; as a result this movie is not particularly scary.