Violent, vulgar, disgusting and incredibly funny.

By and large, reviewers have conceded that the picture is exceptionally gripping and suspenseful while deriding its moral subtext as a crock. The only explanation possible for such fuming pettiness, in my opinion, is the fact that Michael Haneke isn’t one of us.

There are a handful of intense sequences and a few scenes of squirm-inducing gore in The Ruins, but not much else.

Auggie is at its best when Felix is vulnerable. The same goes for the actor playing Felix. Kind hasn’t been this good since A Serious Man.

Besson’s film is a magnificent achievement. More romance than terror and more faith than devilry, this film is sure to pull the heartstrings.

Even with its over-the-top performances, Gaudi Afternoon is an emotionally and intellectually subtle work.

After all is said and done, it seems like the jokes during the end credits are the tow truck of the movie, the engine quitting after the halfway point.

Generally, this film is lively and entertaining. The dialogue among the four principals trips along at a brisk pace, never becoming overly dense or plodding.

An amusing and timely distraction.

The result was one of the worst films I've seen in a long, long time as this entire movie proved to me is that it's never too early to start the race for next year's Golden Razzies...

Doesn't do much besides giving original "Ringu" and "Ringu 2" director Hideo Nakata the chance to strut his stuff in front of a wide-release audience.

What's so disappointing is that the film had so much potential as a concept. The story slowly degenerates into a plodding, sappy bore.

Everyone here sounds trapped in a high school staging of “The Crucible,” and after about an hour, this high-toned creature feature wears out its welcome and starts to seem rather boring and pretentious, the two greatest sins any movie can commit.

Audiences enjoyed the original “Bridget Jones” because it hit close to home...But the sequel has about as much emotional depth as a sitcom

The acting is admirable and the film's hip, on-the-street feel is enticing, it's just too bad that this Irish "Goodfellas" hangs itself with a plot that's contrived and one dimensional.

The Loveless is far from Bigelow or Dafoe's best work but still remains an impressive debut for both. Thanks to the deliberately subdued pace and reworking of the biker genre, The Loveless deserves to be given a second chance.

Deadly Friend hasn’t aged well. In fact, it’s quite crappy.

As far as thrillers go, The Night Clerk is a little light on thrills. That said, there are more interesting things going on, which makes the film worth watching.

Mortal Kombat is a pretty good representation of the video game. It’s all action and not much else, and normally, I do want more from my movies. But here, that is precisely the point, and I’m okay with that!

The film is just too much exposition, too long, too convoluted, too many characters and ultimately a huge disappointment.

Lester takes all the wrong approaches.

I love sex with strangers! Yeah, the film is cool too. But damn, do I love sex with strangers!

Despite some brief nudity and much swearing, the whole endeavor feels like some sort of half-assed Christian "Adventures in Faith" story I might have endured in Sunday school.

If you've got the opportunity to have someone as talented and game for anything as Swinton, you really owe it to her to give her a real movie to be in.

What begins as a lush, pulpy gothic laced with intrigue quickly spins into a convoluted web of over engineered and preposterous plot twists.

In the end, the film isn't a complete waste of your time, and it is a neat little walk down a Patriot Act assisted cyber-terrorist "what if..." scenario, but don't expect anything brilliant.

Despite its touching story of family, Collisions goes a little too far in pleading its case for immigration reform and the return of DACA. If you like to engage in political debate, the film does bring up a literal myriad of issues and questions to discuss, but most likely won’t persuade many right-leaning filmgoers.

The Almond and the Seahorse is filled with sadness and pain, but there are moments of sunlight and happiness, which is ultimately the most anyone can ask for in this life.