I did my homework and watched the original "RED." It was just as stupid as this movie, yet I liked it a little more.

Studio 666 is the kind of broad horror-comedy that could certainly stand to be a little scarier, a little funnier, and more clever overall. But then again, no other horror-comedy stars rock band the Foo Fighters as themselves, which is the main pull for this special Foovie event.

From an outsider's perspective, however, as poetic and otherworldly as War Pony can be, the reality of its people never feels real.

A movie as dumb and bloody as a slab of meat, but with Momoa playing an emotionally vulnerable logger who you also believe would throw an ax at someone's face.

For a movie about two people who loved each other so deeply, they risked losing everything to be together—their families, homes, even their countries — A United Kingdom plays it frustratingly safe.

It's often painful, and not in a good way; it's painful because of the roads it doesn't explore, the shortcuts it takes, and the special pleading it can't stop itself from indulging in.

Some of it is so predictable you could set your watch by it, but there is a welcome (and surprising) layer of complexity running through the film that makes it a little bit more than your standard fare. The likable and funny ensemble helps too.

It’s one of those films that may be overly reliant on jump scares when you tally them all up, but I’d by lying if I didn’t admit that a few of them legitimately made me jump.

The Meaning of Hitler never quite reconciles its central concern of whether continuing to talk about Hitler is an inherently compromised pursuit, and that uneasiness feels like an unintentional capitulation for an otherwise well-intentioned project.

Tim Fehlbaum’s The Colony has many ideas about the future, and while not all of them quite stick together, there’s a few interesting aesthetic and narrative choices to make it something of a curiosity. There’s enough going on to capture your notice for brief stints before trailing off into dense plot details or well-worn sci-fi tropes.

The film's hazing scenes evoke the boot camp sequences in "Full Metal Jacket" but without the merciless coldness, because the film's hero, Brad (newcomer Ben Schnetzer, in a career-making star turn) desperately wants to belong to the organization.

An admirable attempt at presenting a difficult subject that suffers from an eventual pileup of melodramatic happenstances.

The actors bring a great deal of humanity to keep a wobbly script from going too far off balance.

The film’s inherent emotional power is undermined by the visual and narrative murkiness of its storytelling, including a gotcha twist at the end that has nowhere near the weight of the themes it's trying to explore.

I can’t say this is the best film you will see all year, but I can assure you won’t see another one like it again for a long time.

Its perpetual commentary on the mainstreaming of queerness remains at odds with its very desire to tell its story within the Hollywood system.

The movie builds up enough steam, and has a sufficient supply of jolts, to make Old Man stick to the ribs at least a little by the time it’s over.

Gorehounds need not worry that a movie called Deathgasm plays it safe. This is a defiantly, well, metal movie.

Both the source material and the man reading it are legendary. And that inherent cool factor in Extraordinary Tales carries the final product a very long way, although its shortcomings do sometimes force me to wonder if it could have been a masterpiece instead of a mere curiosity.

In the end Foxcatcher proves impossible to embrace because of fundamental miscalculations in performance, direction and makeup, along with a certain clumsiness in the way that it tries to use its profoundly sad story to make some kind of grand statement about American values, or the lack thereof.

The first Malick film I’ve watched where the dots never came together to form a legible image.

By turns daffy and dazzling, awkward and artful, Journey to the West takes an ancient tale and gives it contemporary flair.

The star turn, and the only major element in Bewakoofiyaan that transcends the by-the-numbers assembly line rom-com, is Rishi Kapoor.

Sometimes I Think About Dying feels like it needs one more "act" to complete its arc. It's an unfinished bridge. The film attempts an eventual catharsis, but there's just not enough information to get us across the river. We're left hanging.

While “Eleanor the Great” never quite recovers from the moral issue at its center, Squibb’s lively performance makes it memorable.

It’s a brutal slog of a film, admirable in its fearlessness in terms of dark subject matter, but the brutality doesn’t feel worth it in the end.

Armie Hammer’s Will is definitely hollow at the core. Like a lot of protagonists of horror films, it is his overall weakness as a human being that makes him so vulnerable to the nightmare that unfolds in his life.

The passion for the food, the dream, and each other that fueled the beginning of the story is less vibrant when the details are revealed.