Brandon has apparently inherited a great deal from his father both in terms of his filmmaking techniques and his taste in material. As science fiction, Possessor is a little disappointing – it does too little with a pregnant premise crying out for deeper inspection. As horror, however, it’s a rousing success – a shocking and disturbing gem that doesn’t betray itself by softening things during the final act.

It is being touted as “Miike’s 100th film” and, while one could argue whether the numbering is strictly correct, it’s close enough to be reasonable. Here’s to another 100.

While The Beta Test does a solid job of presenting Jordan as the kind of person ripe for a comeuppance and giving us a high-octane performance to go with it, the movie falls down when it comes to basic storytelling.

For those with a taste for outrageousness and an appetite for horror, there's no juicier meal than the Evil Dead movies.

There is a wealth of authenticity in the feel of the movie, as if Levine and/or his writer have endured some of this stuff.

Thirty minutes into Waiting for Guffman, my stomach hurt from laughing.

Super 8 is in many ways a perfect summer movie: smart, exciting, heartfelt, and suffused with nostalgia.

War Horse's primary attraction is not the story of how it makes us feel but its impressive re-creation of the Great War's battlefields and some stunningly beautiful camerawork by cinematographer Janusz Kaminski.

Easy A may not be a great movie, but it is a knowing and enjoyable one.

Attempts at wit and humor seem half-hearted at best. Bridget Jones: Mad About the Boy isn’t a terrible movie; it’s mediocre at worst. But it never should have been made.

This is one instance in which the return of a horror icon has a greater purpose than the exploitation of a recognizable brand. Would that more genre films were as thoughtful and thought-provoking, mixing substance with splatter in a fashion that builds uneasiness on more than one level.

It's hard to imagine a D&D-branded movie doing a better job than this one of bringing the game to a cinematic platform.

Doesn't come close to masterpiece status. There are some great individual scenes and a tremendous performance by Daniel Day-Lewis, but the connecting material is mediocre, leading to the occasional twinge of dissatisfaction.

While this outing will not challenge the likes of "The Natural" for the title of the best baseball movie ever made, it's a solid effort in its own right.

The kind of expression of emotion that touches a deeper chord.

While "Hereditary" crashed and burned in its final act, Midsommar stays afloat, although the movie is ultimately hampered by a too-long running length (147 minutes) and scenes that teeter perilously close to slipping over a cliff into self-parody.

The vision of director Alex Proyas lifts this film above its sad history.

The Stepfather doesn’t hold up quite as well as it did during the late 1980s (some of the film’s technical aspects are dated) but it still generates tension and suspense and O’Quinn’s performance has lost none of its power.

This movie has all the qualities necessary to be a crowd-pleaser: likable characters, charismatic performers, a strong, capably-executed premise, and lots of laughs.

It takes a confident actor to accept a role like this and to perform it to flawless perfection.

Gifted with a surprisingly large budget (reportedly ~$70M), Bayona is able to effectively recreate not only the crash but the dangers faced by the survivors while seamlessly incorporating on-location footage with studio-based material. The remarkable accomplishment results in a breathtaking motion picture that enthralls across the length of its 140+ minute running time.

The film lingers, not because it’s enjoyable, but because it refuses to let go. It’s the sort of movie you admire for its daring and endurance but would never want to watch a second time.

Alex is certainly worth spending a couple of hours with, even if the slow pace is better modulated for a night in than a night out.

It's neither glamorous nor erotic and director Steve McQueen has taken an unflinching and non-judgmental view of sexual addiction in Shame.

Although the comic book tropes are all in place, the acting, tone, and visual effects keep them from becoming tedious. This is yet another solid building block in the foundation to Marvel’s ever-expanding superhero fortress.

Polanski abandons all attempts at subtlety. The resulting production ends up far too heavy-handed to be considered powerful drama.

With The Suicide Squad, Gunn shows that there are ways to keep things edgy while at the same time offering enough humor and action to maintain the crowd-pleasing elements.

One of those romantic comedies that never quite clicks. At times, its humor is effective, provoking chuckles and laughs. At other times, the comedy feels forced and awkward.