The bottom line is that the only Texas Chainsaw Massacre movie that you need is to see is the first.

There is a lot that Game Girls forces the viewer to grapple with. The lack of accessible health care, income inequality, race relations, lack of opportunity for self-improvement in the inner cities, and the line between exploration and exploitation.

The series has turned into the cinematic equivalent of a flat bicycle tyre – it starts off with lots of air in it, but can quickly go flat when punctured.

Rarely interesting, always confounding.

As I sat through this two hour stumble through what looked like fog, I just kept thinking to myself how this might be the best looking bad film I've ever seen.

Takes a workable premise wrapped inside a mostly-talented cast and piles it all on poor Bosworth’s shoulders; it’s just not fair, you see how narrow they are.

Putting it in the kindest possible terms, the movie could be passed off as an exercise in style. Because of this, it does manage to be watchable.

The filmmaker’s sophomore feature fails to generate any semblance of momentum or suspense. It’s filled with laughable lines of dialogue and jarringly poor editing. Mario Van Peebles single-handedly imbues it with enough gravitas to make it somewhat watchable.

Over all, the short stories never gel together or create a unified whole.

The most frustrating aspect of Police Beat is that it's clear everyone involved has great talent...Too bad all their efforts are lost in the service of pointless material.

All of this is goodwill, and food for thought is squandered with the third chapter follows Orin. Without getting into spoilers—He ruins the movie.

I would also like to state for a fact that fight scenes in absence of all other drama aren’t interesting to watch.

Spears, Davis, and company are well aware that they're making nothing more than the cinematic equivalent of Spears' glossy bubble gum pop -- but that's exactly the problem.

Yes, it’s that kind of movie: ludicrous but seemingly unaware of its own pretensions, never quite so-bad-it’s-good, but rarely good enough to rise above bad. The filmmaker seems confident that he’s assembled an “elevated horror,” minimalist masterpiece. Unfortunately, the result is just minimal.

The experience seems filtered. What’s lacking is any trace of spontaneity. We never see anything significant transpire, only people talking about it after the fact. Nor do we hear any dispassionate commentary evaluating Nash’s career from an outsider’s point of view.

Doesn’t break any new ground – it actually steals from half a dozen other sci-fi movies – but it’ll make enough at the box office to justify further game flicks.

"X-Men" sans the intellect and atmosphere.

Still Life in Lodz is at its best when the rich history of Lodz takes center stage. There are some downright beautiful establishing shots that get bogged down by aggressively overbearing music choices and repetitive information. The amount of archive footage and animation does nothing but pad out the already minimal runtime. This type of story doesn’t need these gimmicks and grandiose moments since they clash horribly with the previously set up atmosphere.

If Pachman intended to reiterate the difficult plight of migrant workers, our disregard and abuse of them, then point made, I guess. Yet for a film titled Beneath Us, it certainly never digs deep under the surface.

The film makes an honest effort to present this story as intelligent and thought provoking, but ultimately falls flat because it doesn’t provide enough reasons to care.

All the excessive slapstick and juvenile antics keep the audience from making any kind of connection with the characters and prevents Are We There Yet? from being anything more than another disposable January release.

What's shocking about Superhero Movie is not that it's been advertised to death on Nickelodeon to impressionable children, but that it's a completely on-the-nose satire of "Spider-Man.”

The writer and the director rub our faces in muck until all we see is darkness, providing the faintest ray of light at the end. You will be infuriated – not so much at the witnessed injustices as at the filmmaking team for subjecting you to over two hours of grief and misery.

A Score to Settle reveals itself as a swarm of cliches that ring louder than bullets.

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

Ends up feeling like just another uneven British crime drama.

We still love you, Terry. Happens to the best of us. But, man, what a stinky load. Someone get the hose.

For an origin story about one of the most compelling and important characters in history, The Nativity Story is pretty damn boring.