The downright gnarliest mainstream horror release in recent memory, Evil Dead is certainly a considerable and occasionally commendable dose of the ol’ ultra-violence, but Fede Alvarez’ Raimi-sanctioned update of 1981’s cult favorite only really has that demented determination going for it.

Few movies this year have been quite so rewarding with their 11th hour epiphanies.

An often gorgeous, dizzying assault of ideas and visual flourishes...it's just not very good.

Unlike the original, Hannibal may make us hide our eyes, but it doesn't get inside our heads.

For a genre that so often sacrifices character development and smaller narrative developments, the majority of The Maze Runner feels quite refreshing and worth the navigation.

Derivative, cliché-ridden and old hat.

Two Buckleys for the price of one, but the real star here is Penn Badgley.

Frank’s film is much more of a noir outing than a straight action feature, and Neeson slips right into the tone and feel of the hard-boiled detective offering. Neeson may have been treated to a big career resurgence thanks to his knack for big action, but he’s great as Matt Scudder, and the darker charms of the film suit him wonderfully.

Somewhere around the beginning of Hour Two, the narrative loses momentum, and Pino Donaggio's molasses-thick score begins to drag everything down with it. The ending also lacks the surprise twist that seems to be promised .

Mama is one of those pictures that holds you aloft on its vaporous mood of dread – the occasional silliness of the plot mechanics don’t matter so much.

The Company You Keep at least manages to maintain an audience’s interest for a solid 80 percent of the film. The ending is a slight flop, which keeps the film from an overall recommendation, and in the stark light of day, it seems fairly evident not everything adds up.

I Origins is about on-par with “Another Earth,” but it’s still disappointing that a film so obsessed with the eye has such a fuzzy, blurred vision of what it wants to do.

Hamstrung by a script that is too often smug, obvious and self-important.

The accidental beating and killing of innocent people satirizes "Pulp Fiction," or is this Sabu's homage to Tarantino?

Simply can't sustain interest for much of its final hour.

This mild but amusing comedy wasn't written by Levinson, and the accents may be different, but the feel is similar.

A bold film anchored by Weigert's impressive lead performance.

What ensues is never exactly unpredictable, but always witty, fresh and fun.

This is a film about a journey, and while the destination – baseball’s major leagues – is continuously dangled in front of its protagonists, it’s getting there that counts. Oh, and also how fast you can throw a ball. That counts, too.

A mostly mundane single-father drama.

Breaks no new ground and is tedious in the extreme.

It's like one of the baker's cakes, handsomely rendered on the outside but lacking flavor.

Mr Kumble: Keep your hands off the classics! You don't deserve to read them, let alone paraphrase them.

A relatively high-flying adventure, injecting the always-entertaining airplane-set thriller with some fresh thrills and a cadre of characters worth getting invested in.

It is Foster who presents the biggest single problem, delivering a monochromatic performance that finds her character not much more than flinty and strained.

Afflicted is an exciting, adept and smartly skillful debut horror film.

Infuriating on almost every conceivable level.

Fancher seems uninterested in developing real suspense, or incapable of it, at least until the end, when there's plenty of it, but artificially imposed.