Less Bond than simply boring, a tedious and overdirected race-against-time drama with a few espionage elements thrown in.

Burgundy and Carell's Brick Tamland, by himself, would be worth the price of admission.

Changeling is an almost universally impressive all-around effort, and is the best "dirty underbelly of Los Angeles" movie since "L.A. Confidential."

Knock at the Cabin is a thriller with great performances and will keep you on the edge of your seat from start to finish.

St. Agatha is a fine thriller that is much better than you will expect it to be. Bousman guides a coherent and nimble narrative to shocking and satisfying builds.

The film is described as “docufiction,” meant to present an authentic sketch of working-class Australian life. While we are not always seeing the real events, we are getting the concentrated essence.

An injection of self-aware humor here and there would’ve been welcome. Yet Blood on Her Name is a fine showcase for its star, and a sturdy debut from a director to watch.

The acting in the film is grade-A, with Stallone bringing the more mumbled Rocky from the first film spliced with some rousing inspirational monologues when the moment is right (not forced, not preachy… just perfect).

An exciting time at the movies, where you don’t smell something burning and realize it’s your brain cells dying off. During the summer movie season, that’s rather hard to avoid. But this movie has avoided it and it’s time well spent.

While Fryar is a charming man and his work clearly deserves recognition, A Man Called Pearl is an obvious case of building a three-story house on a one-story foundation. Really, can you make a feature-length film about a man who carves unique shapes out of trees, shrubs and bushes?

Perhaps that's what makes thus such a compelling documentary; it will grip even viewers who aren't interested in rap, as it cuts to the heart of American society in an unnerving way.

This interesting and humorous ride brings a wild variety of Grace Lees, to Grace’s delight and our amusement, providing an informative and heartfelt look, more personal than academic, of a culture and the single bond they all share.

The primary problem with The Assassination of Richard Nixon comes in its attempts to make drama out of a minor man's minor stab at infamy.

The film has a great visual style and manages to show Los Angeles in a fresh way that the average Hollywood eye isn’t used to, while, on the acting front, Evan Rachel Wood surpasses Michael Douglas in scenes, solidifying herself as an actor to look out for.

The Zellner Brothers wanted to create something that pokes fun at the genre and mixes things up in a creative and refreshing way. Unfortunately, the result is mildly funny and disappointingly predictable film.

With “Chamber of Secrets,” all we get is a f____ "Scooby Doo" episode. Boo on everyone involved...BOOOOOOOO!

I’m not sure where Schrader’s career will take him after Master Gardener, but here’s hoping the next decade is as impressive as the current one.

Plays like a breeze and ends before we know it. In the current state of cinema, all we can hope for is one like this per year.

The film is a visceral overload of wordplay ranging from the spontaneous neighborhood park jams to the overflowing concert venues.

Green makes you think and his films are so quiet and subtle, you almost find yourself in the film, wrapped up in the moment.

Despite minor hang-ups, Blizzard of Souls is a great war movie with a story that needs to be shared.

The success of the film mostly rests on Jessie Buckley in the lead role and her chemistry with Riz Ahmed as her potential romantic interest.

Villains stumbles early on. However, due to the precise editing, excellent design work, and a cast that knock it out of the park at every turn, the film is still highly enjoyable.

Rather unexpectedly, the result is gripping and immersive, bolstered by a committed cast and some remarkable visuals.

While certainly an entertaining and intriguing film, one simply can't get past the notion that we're watching semi-famous actors pretending to be their more famous characters.

Every hour that ticks by your stomach drops a little more as the outlook becomes more bleak.

As a documentary, Persons of Interest could've benefited from further elaboration of the actual policies put in place, but as is it's still a disturbing, matter-of-fact look at the consequences of letting fear engineer such policy.

Only a little over an hour-long, yet manages to be one of the most compelling subversions of the possession genre I’ve ever seen.

I still can’t believe this is Wolff’s first film as writer and director. He shows an excellent command of storytelling. There’s a lot of backstory and very little exposition (which can be a first-time filmmaker trap). His dialogue is natural and authentic to the age of its characters, and the way eventual conflicts between the friends play out feels unforced.

A fine little comedy and a hilarious character study of an ego gone wild.

Characters are keenly observed and come front and center over the plot. Anything can happen. Absurdity reigns supreme. Yet, at the end of the day, we know a little more about the human condition after seeing it bursting at the seams.

Some might perceive City of Men as a slow film, while others could reasonably argue that Morelli is taking more time to develop characters.

Freaks subtly subverts the superhero formula under the guise of a hallucinatory, cautionary tale of paranoia, delusion and extreme parenthood.

The film itself acts as a diary-scrapbook of sorts, an abbreviated anthology of Beaton’s greatest artistic hits and the romantic vision that conceived them.

What really elevates Hannah Takes the Stairs is the truly outstanding performance by Greta Gerwig.

This is a really small film, shot in 19 days, and it's a little rough around the edges, but it's got a huge comic heart that's undeniable.

There are so many wonderful, well-crafted scenes in The Last Suit. Pablo Solarz’ script is a multilayered masterpiece.

In the end, there is no denying An Elephant in the Room is a very earnest project and it is the kind of documentary that has a subject so strong and primordial to its existence that “appearances and effects” might bear little consequences to its overall appreciation.

Normal is action-centric brain candy, with some pokes at timely social/political topics. It’s not that heavy, however, this film won’t change your life. It will allow you to relax into catharsis and put a smile on your face.

Empathy and balance is the reason you must see This Land.

Fairly mundane and frequently boring.

This isn't a straight-on comedy by a long shot. It's a quirky character study that will make everyone in the audience laugh at different places.

Nighy is superb as usual in a much meatier role than even he usually gets. And Byrne makes her character far more three-dimensional than the shallow creature she could have been.

The Hole In the Ground surprised me, took me on a fun ride, and returned me, almost unshaken. This was a brilliantly satisfying monster movie.

The most intriguing aspect of Chef Flynn is its honesty.

A reasonably intelligent timekiller.

While having all the key elements of a mystery, director Stacie Passon’s film is more a character study focusing on themes of the safety of sisterhood and self-imposed alienation.

Gorgeously shot, cleverly directed, smartly scripted and convincingly performed, The Dreamers is itself something of a movie puzzle.

Impressively stays away from the cheese and the sap that ordinarily accompany holiday pictures.

Robinson is more adept at the surrealism than the satire, and when the latter takes hold toward the end, the film falters; however, Grant doesn’t, and the film is worth a look if only for his fearless, funny work.

In a world where there is no shortage of cop thrillers, The Rip is sheer popcorn entertainment from start to finish.

The Devil Wears Prada 2 succeeds because David Frankel trusts his cast and Aline Brosh McKenna’s script to handle both nostalgia and modern complications without preaching to the audience.

It’s one of the most exciting genre mashups I’ve seen in years.

A Haunting in Venice marks the best, most succinct, and humorous adaptation of an Agatha Christie story by Kenneth Branagh yet.

If you’re tired of zombie films or rabid people films, Signal is like a cool drink of water on a hot day. It’s got all the goodness from the best of those genres while creating its own niche at the same time.

A roller coaster of emotions that will have you laughing one moment and gasping in shock the next.

A touching, stirring story even if it has been given the Hollywood treatment.

To me, the story is the reason to see The Matrix Resurrections. Lana Wachowski brings unexpected freshness to this new evolution of Matrix stories.

The uninitiated may wonder what the fuss is about, but for the true Fassbinder Heads out there, Peter von Kant is a revelation. Ozon has made one of the best homages to a master filmmaker ever made.

Engrossing and brilliantly insightful production.

An existential masterpiece. Merging the stylistic direction of Jean-Pierre Jeunet with the existential sensibilities of Charlie Kaufman, creating one of the most memorable films ever made.

The Golem is creepy, as the cinematography is awash with atmosphere and the use of such a creature is interesting. The dramatic side of things mostly holds up as well, and when combined with the excellent acting, the movie turns out to be very effective and memorable.

To picture the depth of visuals in The Beautiful Summer, imagine a hundred beautiful moments in time standing out in sharp contrast like a string of Christmas lights.

Bubble is among his (Soderbergh) worst films. What in the world was he thinking with this?

House definitely put a smile on an insider's face, but outsiders can enjoy the ATL too. The only prerequisite here is the ability to laugh.

Mixing dark comedy and mild suspense, Dan Mirvish’s 18 ½ is not the movie many would expect it to be. But the unpredictability of it all makes this madcap political fiction thoroughly diverting.

Fans of Roth will gobble, gobble this up.

That all the events filmed actually took place make Stander a highly entertaining ride.

In Amerikatsi, Michael Goorjian channels his inner Roberto Begnini and even Charlie Chaplin to bring humor and levity to a solemn subject. But the best part is he shines a light on the Armenian people and their resurgence to re-establish their culture after great tragedy.

No amount of words that can convey the sense of the film, because it is such a gut-punch of emotion.

What's more refreshing about Severance is how the movie's humor offsets the violence, and even that is pretty restrained (at least by modern standards).

With its emphasis on dialogue and political machinations over explosions and kung fu fighting, it remains to be see whether or not V for Vendetta will actually find one (a wider audience).

Once “Spiderwick” gets to the fantasy, the story gets going.

Congratulations to Robb Moss for making such a crowd-pleaser. But more importantly, congratulations to Moss for having such interesting friends.

I can't condemn it outright, but damned if I can remember anything (aside from Izzard's performance) that would make me recommend it.

Lee is beautiful, daring, and elusive, as all great art should be. It’s a fitting tribute to a woman whose work exhibited the same qualities.

Nothing really works on any level above mediocrity.

Sigourney gets some good "Rambo" lines, but about halfway through the film her alien super powers go dormant.

Features an excellent cast all of whom shine. Affleck as Reeves has never seemed more charming and Brody’s Louis Simo is pretty much a scumbag who still manages to gain our empathy.

It is well worth sticking your face into Hell Hole, as there is a prize inside the box of wood chips.

Call Jane is dripping with amazing actors giving solid performances, but only Banks is given a chance at Oscar bait. Weaver’s Virginia is a sagacious activist with long hair, always reminding the group to keep the goal in mind, but we are cheated of heavier moments with her. What is here is wonderful, but it could have used a few moments of gravity.

It did a great job of giving chills and making me jump. It may not be the most original film out there, but which ones out there today are completely original anyways?

The fun of Sigourney Weaver in directors Wallace Wolodarsky and Maya Forbes’ feature, The Good House, is watching a master actor create an everyday character so believable that she could literally walk into a room and pass as one of us. By the way, everything I said about Weaver equally applies to her co-star Kevin Kline as well.

Quentin actually made a REAL movie, with believable characters and performances, rather than just repositories for clever dialog.

The final result becomes a search not for a knight in shining armor, but one of acceptance for one's own identity.

Gillan is always a powerhouse, and the set-up of her in a Battle Royale rumble is enticing. Still, the actor is required to maintain a monotone delivery from which only the slightest emotions escape.

Jesus Camp works nicely as a time-capsule document confirming the impact -- and popularity -- of American evangelism.

Imagine a blend of "The Wizard of Oz," "Beetlejuice" and "Roadside Prophets" and you'll know exactly what Wristcutters is like.

Mr. Toilet: The World’s # 2 Man is an informative and fun documentary. I know that it sounds like an odd choice of words, given its subject matter, but it really is something special.