No less than four screenwriters are credited, yet the script is filled with the usual clichés (hello, red digital readout!) and supposed twists that can be seen a mile away.

If the directors scaled back on the needlessly-complex tale and tightened the reigns, and if screenwriter Michael Arkof sharpened his dialogue (“I’m a deputy, not a vigilante!” Norm yells shrilly, before absconding to his trailer), they may have had something truly special here.

The cast is genuine in their emotions, the film depicts them that way, and the camera doesn’t feel compelled to go hand-held crazy--which is refreshing.

The film’s no-nonsense approach is a neat tribute to 1980’s action flicks of yore, where badass heroes said and did badass things.

The last act of American Gun is quite possibly one of the most ridiculous and forced dramatic twists I've seen in years.

This raw truth, this emotional nakedness, is deeply refreshing.

Isn't as dark or sinister as its source material, but it comes closer than any other filmed attempts to this point. It may only be a decent movie, but it's a pretty fine PKD adaptation.

We’re left with a perhaps too tidy ending that picks up the spirits but doesn’t delve into the questions about human nature that the movie raises. Had it dug a bit deeper, it might have been something more than the overall pleasant entertainment vehicle that it is.

Sevigny and Beckinsale, looking very Parker Posey-esque here, give solid performances, but it's not enough to out weigh Stillman's smugness.

It is that kind of “inside the life of an astronaut” angle that keeps the film reasonably engaging, even if you don’t care too much about the characters.

Seven Pounds is the very definition of a 'noble failure.'

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.

Isn't a bad film per se--it’s just an empty film.

Aline has quite a few things to praise, but the bio-pic overall feels like a slight step up from a made-for-television film when it comes down to it.

The reason to see The Last Movie Star is its performances from both Burt Reynolds and Ariel Winter. It’s a sweet, solid film and a suitable bookend to Reynolds’ career as a leading actor.

Empire is an entertaining, colorful, action-filled crime story with an intimate heart.

It’s not hard to see why The Way Home has become such a hit in its native South Korea. The story is a plaintive moral tale, adding the requisite doses of humour and sentimentality where it’s required.

The film is dumb, formulaic, the other actors are scarcely worth mentioning, and the plot is merely an excuse to set up the action scenes. But it didn’t bore me; The Rock is ceaselessly entertaining.

The increasingly creepy plot is counter balanced by a genuinely tender romance, which makes the film impossible to categorise, and will no doubt limit it to obscure arthouses and cinephiles who have very strong stomachs. They won't be disappointed.

Carion, along with his co-screenwriter Laure Irrman, leave things annoyingly unexplained – which would be fine in a poetic meditation on loss and grief that purposefully raises more questions than answers, but is indefensible in a neither-here-nor-there pseudo-intellectual thriller.

In the plus column, Poseidon is a tightly-paced action movie that doesn’t depend too much on special effects for its thrills.

Whether you’re a casual or an ardent follower of M. Night Shyamalan's films, The Happening could alienate or dominate your thinking cap. Remember--it's perfectly acceptable to laugh one second and shriek the next.

A thought-provoking movie that is still relevant with the many environmental concerns that are out there now.

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.

Radio is a film many people may be tempted to laugh off as button pushing feel-good fluff. Before doing so, they might want to ask themselves just what it is they find so funny about a little peace, love and understanding.

Fails to add anything of substance to the history that it portrays.

When Romper is firing on all cylinders, it is potent indeed.

If you hated "Dogville" because of the overage of narration or the length of time it took to finally get to a point, you'll be pleased to know that von Trier has lessened both those elements. With that said, it still has some of the same flaws.