A low-key Field is the best thing about Two Weeks, which is set in a Wilmington, N.C., where everyone mysteriously sounds like he just got off a Los Angeles freeway.

Chlamydia, gonorrhea and Jason Sudeikis are three reasons to stay well clear of A Good Old Fashioned Orgy, but they're not the only ones.

For all its promise to be a wry commentary on the savagery of office politics, The Belko Experiment is more like an experiment in how many cracked-open skulls can be crammed into one movie.

An unrelenting assault on the brain and eardrums.

If it weren't for "Sideways," Second Best probably wouldn't have been released at all, but the earlier film made you root for a hapless schmo. This one doesn't, mainly because its protagonist is so obnoxious.

It's a cute idea that a better filmmaker than writer-director Michael Schroeder could have done a lot with.

Grows tiresome rather quickly.

Exciting stuff in its primitive, predictable way.

Writer-director Matthew Vaughn, who’s helmed all three, needs to either call it quits or hand over the reins to someone with some self-control. The formidable talent of Ralph Fiennes can lift his movie some, but the man’s not Hercules.

It turns out that constraint is really what the show is all about, or to put it another way, I'm disappointed that they turned my horny-teen comedy into a gross-out comedy.

How can it be that a movie as beautiful to look at as Saawariya is so . . . boring?

Delivery Man trades the abrasive comedian’s trademark snark for schmaltz — an experiment that actually works better than you’d guess.

Treading the same halls as “Kick-Ass” and “Kingsman,” Barely Lethal imagines an academy of teen assassins. Life there is deadly, but not as scary as high school.

Despite much effort, neither Johnson nor director George Tillman Jr. ("Notorious") can make this preposterous tale, live up to its title.

It certainly has its moments (erotic and otherwise), but there just aren't enough of them.

Beautiful camerawork, some interesting scenes, but extraordinarily slow.

A noisy, amateurish mess that doesn't work on any level - an extended, clich-ridden MTV video set to anachronistic bad music.

An exercise in drudgery... The whole thing is so patently uninteresting it's hard to see it as anything but a Douglas family vanity project.

Too bad the film around Brody is fairly by-the-numbers, with a mean-spirited kicker that doesn’t imbue much originality to its imperiled-female plotline.

A brutal shocker that is difficult to watch.

Burger’s half-assed attempt at an updated Lord of the Flies makes you long for a good old-fashioned school bus and a pig’s head on a stick.

The joke is on arthouse audiences who show up for Funny Games, which is basically torture porn every bit as manipulative and reprehensible as "Hostel," even if it's tricked out with intellectual pretension.

The movie doesn't do anything with these viney bastards. There's no back story, no satire, no allegory, no implications beyond what's happening on the pyramid.

Walking with the Enemy may not be another “Schindler’s List” (Ben Kingsley has a small but important role as Hungary’s deposed regent) but it’s handsomely photographed (A-list vet Dean Cundey) in Romania and a compelling addition to the Shoah canon.

Most of Mortal Engines is a wearying blast of CGI and genre-cribbing (most egregiously, director Christian Rivers hired composer Junkie XL to seemingly lift, wholesale, his soundtrack from “Mad Max: Fury Road”).

Beautifully photographed and fitfully amusing, Gaudi Afternoon would be an impressive film from a first-timer, but Seidelman is experienced enough to know she should have told the actors not to camp things up so excessively.

The sloppily shot, crudely edited Head of State fails as satire, for starters, because of its utter disconnect from any kind of reality.

The found-footage disaster flick Into the Storm is “Twister’’ for dummies, but by no means is that an insult. The new film is enormous fun if you’re in the right mood.