For sheer craftsmanship, As Above, So Below is the type of horror film you should see theatrically. It's really well-made, even if it ends up feeling a little familiar by the end.

By the end of this film, they've done a very good job of setting up the next three or four films in the series, but at the expense of this film telling any sort of cohesive story.

If you can't handle extremes in your horror, Wolf Creek 2 is not for you. It is definitely ugly in places, and it wallows in it a bit.

It is apparent that Ramaa Mosley has a voice, and that The Brass Teapot is a focused, controlled piece of storytelling that displays real control.

There is a glee to the filmmaking that is matched by a greater sense of control than I've seen from Smith before, and while I think the film is wildly uneven at times, I think that's also the point.

Despite Depp’s seemingly flawless efforts, less may have been more in conveying just how bloodthirsty Bulger was. Where “Mass” excels is with a stellar cast whose spot on performances keep your interest as the film moves along.

Like any comedy that throws 1000 jokes at you, some land and some don’t, but it’s the confident, cheerful energy of the humor that carries the day.

The film is frantic from start to finish, and I suspect it will wear some people down completely. I thought there was a point where it stopped being funny and started being exhausting, but my kids went positively ballistic for it.

The reason you go see San Andreas is to see what the state of the art looks like when you destroy an entire state, set piece after set piece, and Brad Peyton delivers on that.

If you can get past the witlessness of the world itself, there is some very good work in Equals, and fans of the cast will be no doubt pleased with the connection they have in some of the movie's best moments.

While I thought it was gently moving at times, it feels like Gondry is hoping for a much more powerful impact, and the film just doesn't swing hard enough to make that happen.

Central Intelligence manages to be a far more coherent comedy than I would have expected, and it’s a worthy representation of the genre.

The film's best moments are those focused on combat, and Ayer does a tremendous job of creating the details of daily life for a combat tank team in the waning days of WWII.

What makes “We Are” worth your time is Joseph’s skill in conveying the euphoria of dance music in the context of an actual movie.

I enjoyed the energy of the film, and the cast is pretty solid throughout, but there’s a big problem that is inherent to the idea that we have to make these films bigger and bigger to outdo things that have come before.

What is most impressive about the final film, adapted for the screen and directed by Burr Steers, is that it gets the Pride and Prejudice side of things right, and that's what matters most.

The problem is there is just too much going on here for Reitman to pull that off and after an auspicious start, it all just, sadly, falls flat.

If Mommy counts as a slight creative step back, and I would argue that it is, it's at least an elegant and purposeful one.

The Mind's Eye is straight-up sincere, earnestly played and honestly intentioned. This is exploitation fare without any wink attached. These guys aren't trying to elevate the genre… they just want to make a psychic wars horror film and blow up some heads.

Jodie Foster deserves credit for orchestrating things with a nimble wit and a relentless energy.

The way an Entourage story works is that they establish what it is that Vinnie and his friends want, they challenge them a little bit, and then they get what they want. And while that's something I find unsatisfying, it is the exact reason that fans watch the show and it's why they'll watch the film.

Age Of Extinction more than delivers on whatever promises Bay makes to an audience at this point. Giant robots. Giant mayhem. Destruction on a global scale. You know what you're in for if you buy a ticket, and Bay seems determined to wear you down with the biggest craziest Transformers movie yet.

It's a dark and grimy film, and while I think it's juggling a whole lot of cliches, there is something genuinely admirable about the way it tells this story and the way it handles the supernatural onscreen.

[Eubank] creates some remarkable images and moments in this movie, and his sensibility leans towards a sort of painterly love of quiet and sustained imagery. He juggles some pretty big shifts in tone here, and doesn't always pull it off, but it's really interesting to watch him try.

Meyers wants this to be all sort of amiable and charming and a big warm bath of a film, and it is.

It's precisely as bonkers as it sounds, and at two hours, both wearisome and claustrophobic... But flashes of fury and beauty remain.

Kat Candler has cobbled together an assortment of half-developed genre pieces that ultimately don't entirely gel. I think the elements work better as parts than Hellion does as a whole.

It is forgettable fluff, but well-delivered, and it suggests that they'll be able to keep making these as long as they can prop up the cast, and with the younger generation making a decent showing this time out, they may even be able to hand it off when the time comes.