Fails as a movie, it works OK as a long-form video.

Every double-cross and ticking clock is familiar in the worst ways.

A dark comedy that squanders its potential and never quite, as they say, suspends disbelief.

The brainchild of English director Ben Hopkins, who takes his time getting going. Too much time, really, as the first hour passes rather antsily, without quite achieving forward motion.

The sex we see in Lies does not feel in any way enticing; the protagonists are left seeming pathetic by the end of the film, and few viewers are likely to go scavenging for sticks after leaving the theater.

Hewitt's twin assets may be enough for a lot of moviegoers -- which may be the biggest con Heartbreakers pulls off.

The result is fantasy that wafts away.

Stretched too thin, looks cheap, and can't quite go the distance.

A pulsing, wooshing, visceral experience that amounts to great fun and an entirely disposable movie.

When your characters are only skin deep, so is your message.

Maniac is a bit like watching an amputee play hopscotch: there’s no way that it’s polite to stare for this long, but you just have to see if this guy’s gonna make it to the end.

Burdge is left to do much of the heavy lifting in terms of inviting the audience into her protagonist’s shaky state, and her performance boasts a remarkable emotional precision throughout — if ever there’s a reason to seek this one out, it would be for her.

The screenplay is far too obsessed with the setup, and not at all concerned with making the villains even the least bit believable or scary.

Using current hand-held camera technology to ape the political and esthetic sensibility of the 1960s.

Script, setting, attitude, and especially casting add up to a smart exercise in dark comedy that's never over-the-top funny, but always engaging for its clever details.

A reminder of why Bullock became a movie star in the first place.

There's something about The Woman Chaser that isn't quite thought through, in a basic way.

It has a nose for what's cool, but is completely inept at execution.

Even the love story doesn’t work, because Moretz and Blackley exhibit zero romantic chemistry, and it’s never exactly clear why the pair love each other so much.

Has its - very - occasionally funny moments, so does a car crash.

If McCulloch can draw this much humanity out of his actors, and do it in comedies with a deceptively easygoing poignancy, he's definitely a director to watch.

The heart of this movie isn't two sizes too small; it's just slightly misplaced.

[Aja] has outfitted Horns with enough talent that the film is rather easy to admire aesthetically. The problems are more foundational, even conceptual—and they are thus harder to reconcile.

Schreiber saves it to an extent with some unusual performance choices, but when you compare this ending to the emotional supernova of Danny Boyle’s “Sunshine” it comes way short.

Lawrence's style is purely will-it-stick-the-wall-or-not, and when it doesn't he looks pretty puny up there on the big screen.

Though the film is generally weak, treading very familiar ground, those dashes of insight and humor - along with Griffiths' performance - pull you into the film.

Appears to be several different movies spliced together, with unfortunate results.

Sometimes star power alone can keep you from walking out of a movie, and this is one of those times.