An active affront to logic, placing us in a world we firmly know doesn’t exist.

Parkland mines some interesting scenes, if not in an entirely coherent fashion, resolving as more of an interesting concept than a fully rendered and effective film.

Eventually fizzles out badly.

The beats and trappings are all standard-issue, but the gags are funny enough, often enough, to offset such routine proceedings.

A.C.O.D. proves to be both a solid debut for Zicherman and a worthy vehicle for Scott and company, one that provides plenty of awkward laughs and generally gives the American farce a good name again.

The whole picture is lifeless and without consequence.

Shaft is a decent popcorn movie and Jackson rises to the responsibility of appearing bigger than life.

Baena takes a well-tread road, leaving behind the guts of his promising story and never capitalizing on the charms of either romance or his leading lady.

Hughley and Jones have an explosively comic chemistry together; her kooky, open-faced looks are a counterpoint to his whipcrack improvisations.

Crass and depressing drama.

Afternoon Delight will both depress and engage an audience, usually just depending on the minute of the movie you find yourself watching.

Steadfastly conventional.

The film itself is sly and smug in kind, fleetingly enjoyable for all of its old-school showmanship and high-tech hokiness.

Dark Skies is about the fragility of family, a muted meditation on how precious it is...it does affirm that genre filmmakers who work with their eyes, their hearts and their brains still walk among us.

The Purge: Anarchy expands on its predecessor, but the excellent news is that the sequel isn’t just bigger and badder and bleaker; it’s also better, smarter, stranger and tougher.

A sort of "Pretty Woman" for the underworld.

Atrocious comedy.

Utterly lacks the spark that makes caper movies fun.

A Stallone / Schwarzenegger film that isn't completely beneath them.

Drama, swift action, and low-key, character-driven comedy.

Ti West’s pointless new film The Sacrament, an exercise in talking loud and saying nothing, isn’t just bad, it’s infuriating.

Another droning formulaic thriller.

For a film that reminds use over and over that this is a whole new world, this movie feels awfully familiar.

If Broken City – the first film to be directed solo by Allen Hughes, one-half of the Hughes Brothers directing team – is a little flawed and cracked itself, it still squeaks by as a reasonably thoughtful piece of big-screen entertainment.

A tiny slice of bleak, black near-perfection.

The sound is great, the explosions are great, the look and feel could have been turned into something special. It’s the words and plot that are huge negatives here.

Here in the rotting depths of pulp horror/adventure territory, that's the entire point of the exercise.

What the film doesn't have, ironically, is a soul.