What saves Spider-Man 3 from becoming well, "Superman III," is the fact that it's still a solid film that packs a punch when it comes to turn on the spectacle.

In terms of narrative, writing, and performance, the flick is hardly lousy to watch and will leave an impression, though it may not be everlasting.

A brilliant exploration into the implications of Freud’s theories on one family.

Daughter is not scary, but I don’t think it was intended to be. I wanted to see what was going to happen next while enjoying the slow-paced ride all the way to the finish line.

Before approaching the end of the film the seduction of the doctor is not that important because by that time the audience has already fallen under the spell.

The Clovehitch Killer is one of the best horror films to come out this year. It’s intelligent and subversive, and it captures the banality of small-town life perfectly.

While it may raise more questions than answers and not quite cohere as a whole, the film nevertheless is poetic and at times breathtakingly beautiful, anchored by a superb cast.

The end result is a slow (occasionally glacially) paced movie that relies more on soulful facial expressions than dialogue that honestly represents what the characters are feeling.

While this funny and humorous study of a post-apocalyptic change excels in exploring some of its more philosophical traits, the substance regarding its core story is not quite there. Yet, this deserves a watch for its comedic rendering of the complex storyline.

Not since Shaun of the Dead has there been such a consistently uproarious zombie movie.

Andrew Commis and Rick Rifici’s jaw-dropping camerawork is worth the ticket price by itself: Abby’s fingers brushing against the grouper, whales scaling the surface of a deep-blue ocean, the skeleton of a blue whale resting among rocks. These visuals make the abundant preaching throughout Blueback palatable but make you long for a tighter focus and a subtler approach.

Easily the most unique film in the trilogy, and in many ways the most fun.

All is True does justice to the Bard, and devout fans of Shakespeare are sure to find a place for it, if not on the shelf alongside his classics, but in a small place in their hearts.

There's no doubt that sheer mechanism propels Happenstance, but the numerous characters and storylines flow and converge in a gracefully unpredictable and witty manner.

How can such difficult subjects as under-age sexual activity, brutal beatings and murders be presented in a way that doesn't alienate the audience, yet still capture the horror and circumstances in a believable manner? The solution? Assign Kai Pieck to the task.

One of those docs that takes the life of an individual and surrounds it with other people's stories that are just as absorbing.

Champs tells a rags-to-riches story set in the brutal landscape of boxing and sports entertainment. You’ll find inspiration from the stories of its three subjects and make you think again about the gladiatorial game and business, we know as boxing.

Jirga is not going for subtlety. Its heavy-handed message about guilt, responsibility, and forgiveness is outright stated to the audience. It’s very idealistic, and you might not buy it. But you will remember the experience of having your eyes opened to a new part of the world.

Judy and Punch is at times gut-bustingly hilarious, brutally uncomfortable, and joyously irreverent.

Europe’s New Faces is a worthy exercise to pull back the curtain on the experience, but it should perhaps be edited down to 90 minutes or so and include some framing context so we know who and what we are seeing and why the migrants chose to make this trip.

A harmless little charmer with a uniformly fine cast, played by the numbers for full tear-jerking effect.

The Djinn is scary and harrowing with a shocking and impactful ending. The acting is perfect, and the visuals are a masterclass in creating tension.

Strictly for hardcore horror fans, though I can see this also becoming a huge “dare you to watch it” event for the uninitiated. We haven’t had a movie this dangerous in the theaters in a long time, and its presence is both important and historical in the history of extreme cinema. This movie will bite your face off.

Might not have been a bad film if its characters never said anything and some obnoxious visual metaphors were removed.

Writer Jemima Khan and director Shekhar Kapur not only bring the Pakistani perspective on romance but incorporates it into modern English culture.

I love the chemistry between Lawrence and Feldman. The comedy is funny and unafraid, and importantly, it has a heart and emotion that works. We need more movies like No Hard Feelings.

At 75 minutes, Ottolenghi and the Cakes of Versailles goes down easily but lacks a distinctive flavor.

In addition to the excellent acting and well-written characters, Doctor Sleep is a delightful visual trip through a hellish winter wonderland.

Yumiko Shaku as Yuki is small, beautiful, and stunningly sexy while she plies her deadly skill like a dancer. Her self-assured poise and large expressive eyes say everything that the minimal dialogue doesn’t.

It's technologically more advanced, far more thrilling and there's infinitely more dinos per minute.

The best thing the filmmakers did was to pull a cast out of the stage productions. Importantly, the actors convey a sense of history and comfort with each other.

A heartwarming, cleansing film that's simply good for the soul.

In the end, the story of the show Ren & Stimpy is a fascinating one, especially for fans and anyone who wants to push boundaries in Hollywood. It also doesn’t make a hero out of John Kricfalusi, who still desires admiration and sympathy.

The animation in Pocahontas is a testament to the constantly evolving skills of the various animators involved, drawing characters that manage to make an impact, even if only a small one.

Thanks to the cast and crew, this flamboyant tale of lavishness works on almost every level. At the heart of Pretty Problems lies a story about appreciating what you have and not relying on the compliments of strangers to influence your self-worth.

Fascinating as it is to see the sheer drive and determination of a man who builds his persona with unwavering dedication, Loudmouth can appear somewhat hagiographical in its approach. Sharpton is too fearless for such a style and has never shied away from confronting those who are angered by his words, for, as Dr. King once said, “In order to love your enemies, you must begin by analyzing self.”

Traveling faster than a fat line of blow snorted from mirror to nose, Cocaine Cowboys is all rush and no crash.

Fight or Flight is the kind of blood-splattered airplane movie that knows exactly what it is and fully commits — like Die Hard 2 hijacked by the John Wick stunt team. It’s dumb in the best ways, fast in all the right places, and somehow still lets Josh Hartnett show us he can kick a*s and break hearts… even while microdosing by mistake.

The film’s structural frenzy lends itself to lots of comic riffing from the leads that often results in hilarious one-liners.

There are scenes of utter brilliance and honesty, then clunky scenes of melodrama the next.

Falls into the category of the contrived and forgettable cop drama.

If you're over the age of 11, there's obviously not much reason to see this.

Beautiful moments of performance such as Forster's subtly spellbinding monologues -- make for compelling cinema.

Shyamalan’s film blends together elements of humanity, faith, drama, tears, tension, terror, humour and the supernatural and succeeds in being one of the sharpest and most exciting films of the year.

Devilishly clever and boasting a killer finale, Intacto is this year's "Memento" -- only Spanish.

Noonan's life is one few of us can comprehend, and Mac Intyre's documentary, A Very British Gangster, is like a Guy Ritchie film come to life, only with a better dressed cast.

Quiz Lady works because as wacky as Annie and Jennie’s adventure gets, it’s a grounded story of sisters and siblings, thanks to writer Jen D’Angelo. Director Jessica Yu brilliantly manages the overall tone of the film, shifting effortlessly between comedy and drama. Lastly, it has a cast that’s more than up for the challenge.

While The Pact may sound overly sinister to some, August extracts ample nuance out of the cast, ensuring we’re never left without sympathy for Karen. The film’s success hinges upon Neumann’s calculated performance, and she gives the role the requisite amount of ambiguity, keeping the audience guessing as to her true motivations.

An emotionally honest film, but it would have been far more affecting if it felt more true to life.

Nothing about this film is as cathartic as it tries to make itself be because the characters just aren't that absorbing. Instead of tugging your heart, it just spits in your eye.

While it holds more value for the conversations it will undoubtedly spark between audiences, the thriller still stands as a bold and brash experiment that demands multiple viewings to get the most of its style and themes.

There are enough twists and turns in the plot, with an underlying “Trust No One” theme to keep the audience guessing. Maybe not all the way to the end, but pretty darn close.

Kinda makes you think about how important seemingly minor events in life are. Not really.

While there are some serious themes at play, the movie still has plenty of gooey gory fun for horror fans.

It might be easy to write off Dating Amber as yet another “coming out” film, but what it ultimately is is just plain ol’ good storytelling.

Despite the flaws in the script, Pattinson and Zendaya deliver their roles beautifully.

First time director Zack Snyder has done an amazing job of creating a sense of doom and dread while sprinkling it with some wicked humor and amazing music.

Certainly a stylish affair, but also an extremely bleak and unpleasant one.

We Are Wizards is a nifty look at a few small but significant slices of Potter mania that evokes interest rather than provoking disdain, not always an easy feat.

The art direction and costumes are gorgeous and finely detailed, and Kurys' direction is clever and insightful. Even so, it feels very, very long.

Sadly, Naqoyqatsi quickly degenerates into a monotonous skein of banal images which strangely reinforces the message that we're living in a damn dull society.

Madame Sata may be based on real events, but it's certainly not a very pleasant introduction to Rio's bohemian scene, circa 1931. Nor is it a very pleasant movie to endure in its own right.

It ain’t high art, but it is a fun flick.

Proyas creates a futurescape that's snazzy in a “Blade Runner” lite sort of way and one or two of the film's effects are eye poppers.

Diaz wears his heart on his sleeve and elicits affecting performances from his cast, but his portrait of a country in turmoil feels incomplete.

It raises interesting questions about cults of personality, our inability to deal with aging, and how we can use the people around us to get what we want. That’s not exactly surrealism, nor is it realism. It’s just Hollywood.

While it is not for everyone, those who can stomach the admittedly cringey, well everything about the plot, will find much to love.

Director Chris Terrio confidently delivers a solid first feature, but sometimes doesn’t always engage in the characters’ inner demons, which could have made an even better film given the cast and material.

The film is filled with extraordinary characters and equally extraordinary circumstances that Hollywood could craft no better in any feature script.

It's jaw-dropping how slapdash Sheridan's approach is to what's supposed to be the heart and soul of the story – the bonding between Hannah and Connor. The characters are so cardboard, it's a wonder they don't catch fire.

Bad Boys for Life is a fun and competent action comedy with most of all the things people loved about the previous two films. It succeeds in that regard, but it does not successfully succeed in pushing the franchise forward and passing the torch to newer and fresher talent.

Of course, Ballerina is not deeply cerebral cinema; rather, it’s goofy fun, but the filmmakers have elevated violence to a fine art, and it does play like a ballet in the elegant precision and breathtaking physicality of the performances. Enjoy it for what it is, and buckle up for an intense thrill ride.

As a romantic comedy, Definitely, Maybe is an explosion of sweetness and hugs that might cause your stomach to churn if you don't like your sentimentality too strong.

The true success of this film has everything to do with Joaquin Phoenix’s masterful performance.

Wooden, one-dimensional epic.

It’s probably one of the best nostalgia documentaries to come out in years. It’s all feel-good and good-feels from start to finish and a surprise here and there.

Of course, we have the magical Mr. McGregor, turning in a nuanced performance that gets into some very raw territory. I knew he had a range, but the depth McGregor travels here is impressive in its specificity.

At its heart, The Senior is about forgiveness and second chances.

Could this version of The Little Mermaid stand alone if the original didn’t exist? Possibly. Howard Ashman and Alan Menken’s songs and story structure remain intact and are its only salvation. But, again, why watch the live-action remake when the original is so much better and suited more for kids?

Beautiful Losers challenges and appreciates, is worthy and worthless; a piece of art in itself.

The plot is paper-thin, and the set-up is beyond contrived (a plant waterer?), but there are a surprising number of laughs, and the saccharine content is kept to a minimum. A mostly enjoyable experience, all told.

Good storytelling and fantastic acting by Alessandra and Anamari Mesa make up for any limitations of not having a million-dollar budget. Superior is worthy of your support.

This version stands on its own, problems and all, as an interesting tale of an anti-hero… or is it about a tragic villain?

You aren't likely to see a film with more warmth and good humor anytime soon or one that does more to give feel good filmmaking a good name.

The Ant Bully, though short and well voiced, is nowhere near as important or influential as it tries to make itself seem and it feels more unnecessary than anything else.

In the end, The Roses feels like a genuine comedy comeback. Jay Roach proves he hasn’t lost his touch, pulling together a film that blends smart writing, impeccable timing, and powerhouse performances into something that may just be a classic new take on a rebooted story.

Ready or Not 2: Here I Come may not be as sharp as the first film. But what it lacks in precision it makes up for with enthusiasm. The kills are inventive, the pacing rarely slackens, and most importantly, it remains tremendous fun.

There is some very un-Mormon gender bending going on here.

A moderately fun B-flick masquerading as an “elevated” genre piece, it doesn’t quite bury itself but never quite finds its footing either.

I felt as if I knew Steinem by the end of it, and as though there might be some hope in this current hellscape in which we live. It is the exact kind of movie we need in times such as these.

Indeed, a triumph of love: love of performance, love of joy, and, above all else, love of love itself.

From a macro level, Brian Banks should just be a social justice film, but as we peer into the life of Banks himself, you’ll see a deeper and more profound story.

Here’s something you haven’t seen before, masquerading as something you have 1,000 times. It may be a one-trick pony, but it’s well worth the ride when the pony is this unhinged.

As it stands, it should keep survival fans satiated, mystery fans somewhat aggravated, and those expecting dry stuff, well, utterly baffled.

The Accountant 2 is a pleasant surprise. It scratches that crime procedural itch, along with paramilitary-style gunplay, for a winning combination.

The movie slides into slapstick at times, but it never overpowers the story.

This is a good move because while I and many others believe in civil liberties, no one likes a cop who goes by the book. Besides, Harry seems to have realized that if you kill the criminals then you never have to bother with prosecuting them. It’s only when people live that Harry gets hassled.

You must see Operation Finale solely for this interaction between Malkin and Eichmann (Isaac and Kingsley).