Ready or Not can be described as the fusion of dark comedy with the Grand Guignol. Unafraid to venture into cinematic taboo territory for its shocks and laughs, the movie doesn’t have many sacred cows. It’s the kind of thing we might have gotten if Monty Python had made a gothic-tinged horror movie.

What potentially could have been the greatest asset possessed by Che - its unapologetic length - turns into its greatest detriment.

There are times when it borders on the pretentious but there’s a real, emotional payoff and it doesn’t hurt that veteran actors Michael Caine and Harvey Keitel give Top 10 career performances.

Jim Henson's creations have always appealed on more than one level, offering adorable playmates and positive messages to children and surprisingly sophisticated humor to adults. MUPPET TREASURE ISLAND, the fifth big screen feature to star Kermit the Frog and friends, and the second directed by Brian Henson, delivers exactly what fans -- young and old -- expect.

The promise of Before We Vanish’s early moments is never fully realized, however, as the movie plods and meanders through an overly-familiar narrative on its way to a half-baked and uneven conclusion.

Luhrmann’s movie achieves its goals of highlighting Elvis’ music while providing a capable, if imperfect, abstract of his life. For fans of the icon and his music, it hits enough sweet spots to be worthy of a theatrical viewing.

What starts out as a seemingly-routine excursion into genre clichés emerges into a more complex and satisfying arena than most viewers will anticipate.

This movie is more of a curiosity than a fully formed motion picture.

Napoleon was without a doubt a complex and controversial character whose shadow loomed large over the first quarter of the 19th century. He deserves a better-focused, more passionate movie than the one Scott has provided.

Living Out Loud is not a monumental motion picture. In fact, in many ways, it's quite the opposite - a quiet, unassuming story of friendship and love that uses richly-developed characters to charm its audience.

Even some who generally enjoy gangster films may be turned off by this one, with its focus on dialogue over action and its harsh style.

The character arc of Paul Safranek (Matt Damon) lacks verve and, although some will appreciate the low-key denouement, the film as a whole exudes unfulfilled potential and the ending provokes little more than a shrug of the shoulders.

From the first scene, however, it's obvious that the writing/directing team of Andy and Larry Wachowski are aiming for something considerably higher than rudimentary titillation. And, by taking chances and twisting conventions, they have hit paydirt.

There are times when Brideshead Revisited shows its seams. For those with an affinity for this kind of movie - and you know whether this applies to you - Brideshead Revisited is a worthy, although not superior, motion picture.

Cloverfield's gritty, in-your-face style is uncompromising. If you're looking for a nice, clean movie filmed with a steadycam, you'll have to look elsewhere.

In a way, Fury and 1970's "Patton" could be considered companion pieces. Both deal extensively with tank warfare but from different perspectives.

The Young Victoria feels like a wasted opportunity and is among the least impressive in a long line of motion pictures about British royalty.

The movie The Road is nowhere close to its literary sire, but it's probably the best one could hope for from a movie version.

Has the potential to be a truly memorable film, and, for more than three-quarters of its running time, it is poised to live up to that potential. But then there are the final twenty minutes.

If you have to see one penguin movie, this is it.

As a dramatic thriller, it does what it needs to do to keep the audience involved and interested, even if some of its most theatrical tricks and twists are more the products of a writer’s invention than actual Washington D.C. activities.

The movie demands a willing suspension of disbelief and, for those who can accommodate, it opens a portal into a hellish, allegorical nightmare about the placid myth of suburbia gone wrong.

Ambitious material for a first-time directorial outing, but, even with a huge assist from his lead actor, Malkovich doesn't nail it.

Passably interesting, occasionally compelling, sporadically amusing, and badly lacking in focus.

Geared more toward teens, although that won't prevent older viewers with an affinity for romance from appreciating the vibes it gives off.

Unfortunately, it's almost impossible to make it through the entirety of Ant-Man's two hours without thinking of "Honey, I Shrunk the Kids" as least once, and I'm not sure that's an association the filmmakers were courting.

What's missing from Mockingjay - Part 1 is a strong through-story. The previous films were characterized by engrossing, well-constructed story arcs but Mockingjay - Part 1 meanders.

A nice little documentary that provides a view of recent history for those who didn't live through it, or a nostalgia trip for those who did. However, as vehicle for presenting anything new or surprising, it fails.