The Master is big screen marvel intended for 70mm projection (a rare treat), with some beautiful imagery, but often inaudible dialogue. Phoenix's lived-in mumble comes off about as clear as Fenster from The Usual Suspects and Amy Adam's precise diction can't even save her harshest talking points.

With an incredible performance by young Natasha Calls and surprisingly effect direction by Ole Bornedal (Nightwatch) you'll be surprised how this horror gets you just when you think you're safe.

The song and dance interaction of kids hollering advice during Blue's Clues happens here on the big screen, which is meant to transform the movie into a social event of sorts.

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

Tsui Hark's films aren't famous for their coherence, but Flying Swords of Dragon Gate is such a wantonly incomprehensible experience that it occasionally feels like an epic piece of outsider art.

A movie whose confusing narrative and at times intriguing parts are at war with each other, and never quite gel.

Filled to the brim with top-shelf performances from an impressive cast, and with enough well-executed (and often shocking) violence to keep moviegoers of all stripes wide awake, Lawless is a minor classic in the making.

Even if 2016 is preaching to the choir, its fanbase is eager to tithe - it's spent this week as Fandango's #1 ticket seller.

The soulless-ness of their empty plot of track homes and super-store existence invokes both "Poltergeist" and "Employee of the Month."

Premium Rush has a rewarding relentlessness and a payoff that suggests that whirring city that surrounds us in is full of supporters who see past the system.

One of the summer's great escapes - no mean feat in a year that has attempted, but failed, to provide fun, mindless, movie fare.

The Words is a movie for people who buy their novels at Starbucks, made by people who write their novels at Starbucks.

A darker and more ambitious meditation on impermanence, Samsara relies on blunt force and unforgettable imagery, overcoming the hazy logic of Fricke's editing to earn your awe.

The shadow of Whitney Houston's stardom and crushing recent death hang heavy over this midrange movie that promises its female audience at least three good cries during its somewhat overlong run time.

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.

It's Cronenberg's most willfully weird movie since "Spider," and it should prove a tough sell despite Pattinson's ample star power.

It's a magical film in the vein of E.T. where an otherworldly event changes a family forever.

The film is light-fingered and charming.

ParaNorman is easily one of the most charming, imaginative and quirky comedies to come out of Laika Entertainment (Coraline), but for all its cleverness and urbane wit, it's in no way appropriate for kids.

The Bourne Legacy doesn't reach the heights of the previous three films, but a guns-blazing final act and strong performances from its entire cast might give it the juice to try for a fifth sequel.

It isn't a problem that 2 Days in New York is implausibly stuffed with incident for a movie that transpires over the course of just 48 hours, the trouble lies in how much time it still manages to waste.

Think of it as someone making a peanut butter and chocolate swirl of Mad magazine and The New Yorker - two unique tastes making one great treat.

Deftly veering from comedy to drama, director David Frankel (who also guided Streep to one of her 17 Oscar nominations in "The Devil Wears Prada") never loses sight of the humanity and universality of the situation.

Fox is smart to keep turning this stuff out before star Gordon grows too old for the role. He's terrific in a Leave it to Beaver way, perfectly capturing the angst of being in-betweener.

Hardcore genre fans will likely be quite disappointed to find a film that trades vision and originality for something best described as bland and inoffensive.

This movie will not find an audience. It's got likable stars, a reliable commercial genre and a decent supporting cast, but nobody will turn out to see it, even if it was a labor of love.

Killer Joe isn't as outlandish in premise as it is in execution, which is saying something.

Journalist and director Allison Klayman doesn't mask her awe of the man, who comes off as a cross between a wise Buddha-figure and Santa Claus - he's made for history, and he's making it.