There's too much pretension in this film. Lots of intense stares into the camera. Lots of uncomfortably hip clothes. Lots of pompous names for themselves.

Delightfully goofy.

Were it not for a few missteps, coupled with an abrupt resolution that doesn’t do justice to the preceding depth, Doyle would have had a little gem on his hands. As it stands, I almost love Almost Love.

From the final product, not only do I not think Jan De Bont has never seen the original Robert Wise film, I don’t think he’s every actually seen a horror film. Have you ever seen a single computer generated effect that scared you, more than just the unexpected sound of a door slamming behind you?

It may not break new ground when it comes to this genre, one involving betrayal and heavily-accented mob bosses and brotherly love, but when a familiar path is tread with such confidence, you just may want to take another stroll.

Olivia Côte and Laure Calamy make the film worth watching if you are in the mood for a story about an awkward but enduring friendship.

Even by Hollywood sequel standards, this is lazily conceived, cynically recycled stuff.

For the most part, Esther is an entertaining and solid addition to the Evil Child canon. There may be something wrong with Esther, but there's nothing terribly wrong with Orphan.

I’ll take a bold if misshapen curiosity such as this over safe Hollywood fare any day.

A good-natured comedy that, while not always funny, remains as sincere as The Book of Mormon. No, really, that is a massive compliment.

It dares to tell an honest history, warts and all, from its inspirational beginnings, which led me to become a Christian to its rapid decline when I learned that even the godly were imperfect people. But then again, maybe God can still use these miscreants of music.

The rape scene is, admittedly, as brutal as any I've seen in recent memory, but much of what Iliadis shows us is a direct riff on the original.

It's noisy, nonsensical, and will fade from your consciousness even before you make it out of the theater lobby, but it's entertaining enough, and Tamahori throws us a few curve balls to keep things interesting.

A movie that wants you to squirm in your seat and judged by that standard, it works brilliantly.

Some people, including a couple of people I watched the film with, may see The House That Jack Built as pretentious nonsense. Others will see it as the glorification of violence. I see it for what it was intended to be, a work of complicated, violent, hilarious art.

Hooter babes and the ubiquitous Steve Buscemi is a riot as the mercurial bum on the street.

Coolio videographer Antoine Fuqua frames Yun-Fat in slick style and his choreography of the slo-mo shoot-outs is worthy of comparison to those of the film's executive producer, John Woo.

For a film that asks its audience to erase so much of the series’ lore, it certainly enjoys feeding them “memberberries” throughout its runtime.

Barnyard isn't a complete waste of time, it's just too familiar.

Ultimately, Sight brings audiences a good, wholesome tale of someone who wouldn’t let his past keep him from doing good in the world.

There's some darn poignant stuff going on here.... The problem is that the audience will try to connect everything to the explicit Eden analogy, and not everything will. The director wins points for enticing you to figure it out, though, and I did enjoy it.

In the end, two things prevent Big Kill from being a complete flop. First, Mark Atkins’ cinematography is gorgeous, containing sweeping vistas that would’ve made John Ford proud. And second, although most of the characters are caricatures, several of the actors clearly get a kick out of their roles, particularly Patric. If only the rest of the movie were as entertaining as they are.

The novelty of watching vintage lesbian footage just for the sake of watching eventually wears off. This underscores the idea that there is such a concept as too much of a good thing.

Tedious talk-fest.

This is a severely flawed, but also a fascinating and engrossing science fiction film, a picture that offers far more than surface thrills.

Isn't nearly as offensive to the senses as I originally thought it would be when first presented with the trailer.

When you have Bruce Dern and Randy Quaid in a movie, you have expectations. Those two rarely disappoint, and that continues to be the case here.

Its storyline is very predictable and cliché but teen girls will no doubt have a good time with this movie anyway.