Ultimately, The Strangers does succeed in the sense that it offers a riveting, vastly credible enactment of everyone's worst nightmare.

This film does cause shivers, creeps, scares, and jumps. It may even make you scream a bit.

Despite its few flaws, Joy Ride does take viewers on one hell of a ride. It's one of those rare films that manages to take an overused plot and breathe some sort of creativity into it.

Films promoting self-improvement are suspect as they are prone to being preachy. To succeed, the filmmaker must create an experience so overwhelmingly entertaining the viewer forgets he/she is being improved upon. This film misses that mark, despite some engaging moments in the attempt.

In its attempts to mirror the abbreviated sentiments of the current social media culture, the doc becomes an abridged version of a statement.

There are a few priceless moments, like Dr. Sangster trying to work on a patient, while removing a hot pink pair of panties from a nearby chair, and the discovery of a stuffed bunny complete with a full set of dentures on his fiance's bed.

I’ve Got Issues brings to mind the zaniness of Quentin Dupieux, with a dash of Todd Solondz’s existentialism and the off-kilter freestyle nature of David Cross and Bob Odenkirk’s stuff. If you find one of the bits redundant, its brevity ensures another one is coming right up.

An entertaining diversion and if you want a light film to just sit back and relax to, then this might just be your movie.

Director Danny Boyle ("Trainspotting") has a terrific eye, so the film as a whole is very well directed, with clever camera work that builds the tension and actually jolts us out of our seats a few times.

Rockwell and Schwartz are basically doing their version of a Hope-and-Crosby road film. They play characters very familiar to an American audience and that is played against a British comedic landscape. The result it interesting to watch, but I think more for the Brits than its American counterparts.

It may not feature the funniest performances Stiller, Walken and Black have ever given but, these three guys giving performances just this funny is enough to make Envy a movie you'll end up kicking yourself for missing.

Comes across as a little uneven, but far from unsatisfactory. Patton Oswalt is sympathetic (at times heart breaking) and makes the film completely worth watching.

Mrs. Lowry and Son has an appealing old-school charm and two performances that make it worth seeing.

There are glimpses of a real actor struggling to get out of Pacino, although they are rare. It’s as if Pacino is dying to act, but he’s either too old or director Roger Donaldson just isn’t allowing him to do it.

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.

I give Killers of the Flower Moon a mild recommendation. It’s too long and predictable. The saving grace is its performance across the board.

The ambiguity in this glacially-paced but atmospheric and at times striking little film doesn’t so much tantalize as frustrate – only because the filmmaker duo approaches something so much deeper, wiser, and subtler.

Dark and quiet is the tone from start to finish.

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

The film’s messages are spelled out in big, bold letters. The tone and pace are, at times inconsistent, making for a somewhat-meandering flow. Nineteen Summers could have easily been 30 minutes shorter to avoid those dips in momentum. However, newcomer Emonjay Brown shines as DeAndre, by turns affectionate, resolute, angry at the system and himself.

Like Lucy, herself, Am I OK? does not really discover itself until much later, but once it does, it confidently strides to its conclusion.

In spite of the horrific dialogue, and even worse acting, there’s actually something to be said for Zombie Strippers!

Without much help from a weak script, and barely in need of some carefully tuned cinematography, Mol fuels so much of the film that a handful of lackluster elements seem to work.

David Schwimmer, our whiny friend, is used to good effect as Heche's boyfriend.

By turns infuriating, charming, wistful and annoying, Kwik Stop winds up a touching, if frustrating film.

It makes for a good time with Christensen providing lovely eye candy, but as for Jenkins and his hipper than thou dialogue, and gritty direction? I’m not impressed.