Unfortunately for Epps, Diggs and Jones -- three capable actors -- the disjointed direction of the material robs them of any dimension and forces them to play tail-chassing caricatures.

Down With Love has little to offer besides hip sixties references better films have already made and made infinitely more hip.

It may appear clichéd in the telling, but Chick has no use for the glib irony and rampant pop-culture sampling which has already dated "Reality Bites" and its ilk.

It’s well-structured, handsomely shot, and features some impressive acting. The thing is there’s just not that much to make it stand out from the crowd either.

While the film suffers from a forced absurdity meant to invoke comedy and laughs along with a sluggish pacing, Rejtman captures the grim monotony of life well.

Party buddy-comedy, part romantic tragedy. If it had been more of the former than the latter, perhaps I would have liked it. But I am so tired or stories about men who are powerless against the wiles of a Succubus.

Yardie is a ripping classic gangster tale done right, but that’s only part of the appeal. It goes beyond the narrative into full cultural immersion with music as the window into a time and place.

There’s a darkly unique spin to it that makes the old and tired feel fresh and new. ... This film is straight up magical.

Has a terrible air of been-there/done-that.

Fans of "Henry Fool" in particular, however, may dislike the complete disregard for the characters of the original film. But the most fervent of Hartley followers can praise the film as a brilliant deconstruction of the tacked-on cinematic sequel.

The drawing card for Blade II is -- the promise of a blood-soaked action/horror thrill ride, and Snipes and Del Toro get the down-and-dirty job done with style.

We need more films like THIS! The filmmaking team of Stephen Kessler and Mike Wilkins join Jerry Stiller and Janeane Garofalo to pay loving tribute to the world of exploitation films.

An entertaining and chilling film that will make you question what you believe about myths and the supernatural.

The Cow is a powerhouse creeper where one of the great actresses of her generation shows us how it’s done.

It’s A Wonderful Knife is one of those pictures that is so surprisingly good you wish you had seen it in a theater. Plus, this is one spiffy-looking picture.

Kim Jee-woon’s film is smart and full of laughs but comes up against profound issues created by its gaming of reality.

While the film feels a little creepy towards the end, Archer has a really amazing visual style and I can't wait to see what he comes up with next.

This is a big, silly film. Is it full of explosions and one-liners? Of course. Is it entertaining? Of course.

The trouble is that the contrivances are so…CONTRIVED.

When a movie does so much right – it’s unique and visually arresting and, at times, legitimately moving and surprisingly scary – it’s hard not to wish for something more complete, something that fully and entirely connects.

While the setup is intriguing, the film quickly loses steam, becoming a muddled chase interspersed with concert footage.

Death on the Nile is more solid and engaging than Murder on the Orient Express, and despite the questionable presence of Hammer, it makes for a great latter-day career tentpole for Branagh. He will hopefully continue the adventures of Poirot for years to come.

This excellent cast of veteran actors makes comic-book dialogue palatable. In lesser hands, it would’ve come off hokey.

This updated version of Black Beauty is well-done and touches upon some important points about being connected to animals, nature, and learning to care for others.

Check out VHYES if you want to see the most original film to come out in ages.

Excellent acting, great music, amazing artwork and gorgeous Christopher Doyle type cinematography make this film an absolute treat to sit through. It's like a big piece of candy.

When Aja really starts in on the brutal slayings, he spares no one any comfort at all.

Bolstered by Mark Bradshaw and Marcus Whale’s electronic drone soundtrack and Bonnie Elliott’s atmospheric cinematography, Run Rabbit Run could’ve used some more forward momentum. It lacks outright scares and novelty but makes up for it in some psychological depth. Reid’s film may not reach the profundity it strives for, but how many horror titles even strive for anything these days?