An unsalvageable wreck.

An excruciating and melodramatic comedy.

Zombie lore doesn't allow for redemption, only head shots, and Levine's film, amusing though it may be, is never gory enough to truly become a classic zombie movie. It also ignores the one basic necessity of monster films, even the funny ones: It really ought to be creepy or scary or gross, at least once or twice.

Bullet in the Head is a throwback to the past with its eyes trained on the present, and it proves Hill has kept up with the times.

Grohl's appreciation for the inhabitants of this dingy demimonde, from the artists to the secretaries at the front desk, makes Sound City an infectious and sincere Valentine to a rapidly disappearing art form.

Even the people who griped about Tom Cruise being cast as the towering Jack Reacher will have to admit Statham fits nicely in Parker's shoes.

Quartet is truly an actor's film.

This is the sort of small, intimate drama about unpleasant subject matter Hollywood rarely deals with, but Haneke isn't worried about turning off his audience, because death is something everyone has in common. It fascinates us, the way it also scares us.

If nothing else, Broken City manages to pull off a difficult feat: It's too convoluted to follow and simultaneously too simplistic to be believed.

It digs deep into the heart and soul of its lovers, who are idealistic, intelligent and passionate - and yet still risk everything they might gain for stolen moments together.

The idea of Arnold Schwarzenegger as a small town sheriff is ludicrous, but then that's the whole point of his new movie: It's dumb fun, emphasis on the dumb.

The movie wanders off course in the final act, as if none of its three screenwriters could quite figure out how to end it.

It's the cinematic equivalent of Bon Jovi's You Give Love a Bad Name: You know in your heart it's a crappy song, and every wince-inducing line is an affront to your intelligence, but hey, it's on the radio, so you turn up the volume and sing along anyway.

Bayona is restrained here in terms of gore, but his landscape is a realistic vision of a hell we never hope to visit.

The characters drive this story, not ideology. Damon and McDormand are terrific as co-workers seeking the same goal, though they see their work from different points of view.

Maybe there's a good movie to be made about the affair between Franklin Delano Roosevelt and a distant cousin. I wouldn't bet on it, and Hyde Park on Hudson isn't it in any case.

Maya is as consumed with finding bin Laden as Jake Gyllenhaal was obsessed with finding a serial killer in "Zodiac," only he was doing it as a hobby.

Django Unchained is the most brutal film Quentin Tarantino has ever made. Unlike "Kill Bill" or "Inglourious Basterds," where the violence was thrilling and carried a visceral kick, the carnage here is often ugly and difficult to watch.

The movie is visually stunning, expansive yet intimate.

Reacher is so good at everything he does, and Cruise plays him in such a robotic manner, that the movie becomes a bit of a bore: The hero is practically omnipotent.

This is 40 is crude and dull, with a supporting cast that reminds you how utterly uninteresting the main characters are.

The technically well-made movie simply can't replicate the live experience of a Cirque show, and at just over 90 minutes, Worlds Away still feels long.

The humor is mostly gentle in nature; The Guilt Trip is clearly targeted at older audiences less than receptive to the crude jokes that made Rogen famous in movies like "Knocked Up" and "Zack and Miri Make a Porno."

These Fitzgeralds are loud, selfish and often maddening, but they're a loving group, and you wouldn't mind spending more time with them.

There will be opportunities to see the picture in regular 24 frames per second, but I recommend going the whole hog and sampling what Jackson has come up with - a new way to watch movies and a new take on a universe that seemed to have exhausted its narrative possibilities.

Hitchcock spends too much time off the set of Psycho, where the real story was, and focuses instead on incidental matters that feel like outtakes. Mother would not have been pleased.

There isn't a moment in the entire picture in which you will recognize an element of your own life.

Wright's film is visually stimulating to be sure, but he never loses sight of the raw human emotions that make Anna Karenina a classic.