Unfortunately, the outcome here is so over-the-top that it’s going to wind up alienating most everyone that sees it.

At the risk of being called an anti-Semite, I would like to propose a moratorium on Holocaust movies -- While it would be crass to discount the importance of the subject, at the same time one has to admit there is some degree of excess going on here.

Boorman’s movies are usually about the repercussions of violence (Point Blank, Deliverance, Excalibur, etc.) but he recreates Cahill as something of a victim of circumstance. Cahill should have been played by Lee Marvin, not by some fat teddy bear of a man like Brendan Gleeson. It’s too bad Marvin isn’t still around, to at least knock some sense into his old friend, Boorman.

It’s a shame that this film’s star-studded cast wasn’t able to save the mediocre storyline.

Lahti's feature directorial debut plays like a watered-down variation ("Ghost World") -- that is, until the final third, when the film not only deviates but flat out derails.

Post-personality switch, the picture does come to life somewhat but proves a one trick pony.

Details like period fashion and album covers are handled flawlessly. It's the big stuff that falls short of the standard set by this troupe. A Mighty Wind is good for an occasional laugh but you're not likely to be blown away.

Tessa Thompson answering phone calls is not enough to justify a feature-length film. A short film absolutely would have knocked this out of the park, but there is just nothing holding your attention here.

Like all of his previous films, it's visually arresting - if any recent film embodies the concept of cinema as poetry, this it it - but unlike "Pi" or "Requiem for a Dream," these aren't characters we're ever invested in.

Clumsy and meandering, Imprisoned seems unsure of whether it’s a story of personal revenge, an outcry against a corrupt regime, or a study of the Puerto Rican justice system.

Astral is a mediocre supernatural thriller at best.

The concept is intriguing and the car chases are pure adrenaline.

A lopsided effort which is part-thriller, part-social commentary, and totally forgettable.

There are occasional moments of inspiration, stylistically and thematically, where the movie hints at its true potential. But most of the time, the movie is tripping over its desire to be noticed.

Inherit The Viper had the potential to be an exciting thriller with dramatic family elements. Instead, its characters fall flat as if the actors were not allowed or unwilling to flesh out their characters more.

Humorous yet subtle characters aid Malkovich in creating a film that is engaging and entertaining, while at the same time lumbering during long stretches.

The Invisible Raptor will have its fanbase, but it takes a little too long to get to the Raptor hunt.

It is always unclear what the film is really about.

When the filmmakers focus on the artists who work there, it is moving and engaging. Despite how fun it is to see your favorite musicians in everyday life, there is not much they say that is interesting.

Casting and premise are Haunted Mansion‘s greatest strengths, though many of the best ensemble moments or narrative choices are fleeting.

It makes no sense, but then again neither does much of anything in The Country Bears.

Too much of the time, Jackson is a complete blank, like he's bored with his own story.

Less Bond than simply boring, a tedious and overdirected race-against-time drama with a few espionage elements thrown in.

When all is said and done and you get the full explanation of what meant what and who did what to whom, it's not fulfilling at all. It's a magic trick that's all showmanship and craft, but lacking true whimsy, ultimately failing the audience.

The sexually charged undercurrent of Mertoland promises something dark, disturbing or at least provocative, but as the characters reach their defining moments, it's the plot that yields to the ordinary.

Right out of the gate, we realize that bringing the series to the big screen makes the flaws that much more obvious. The voices are too thin, the music and lyrics too simplistic, and the production values are – frankly – too "televisual."

While it’s abundantly clear that Farr and his star Dreya Weber, who produced the movie and is an actual aerialist, know that physics-defying world inside-out, they could use a lesson or two in defying a predictable, sentimental story arc.

Evening”has so much going for it. A great cast, amazing visuals, and solid directing throughout. So why did I leave the film saying aloud to the parking lot, "I didn't like it."