Bell's performance is the best reason to see Raze.

While Lutz might possess the beefcake to fill out his chest armor, he lacks the acting chops to make us much care about the fate of his gleaming hero who looks as if he just stepped out of a Beverly Hills salon.

The Bieber fans aren't going anywhere. And Justin Bieber's Believe is best when it shows us why.

Unfortunately, with the exception of Jonah, the rest of the characters aren't much more fleshed-out than the screeching beasties.

Unfortunately, early hints that the the actor-filmmaker's latest will be a brilliant, bloody, sustained workplace satire don't pan out. This is an intelligently composed, crisply edited, sometimes amusing, but otherwise unremarkable cross/double cross gangster picture.

It's all a bit overheated, and while there is certainly nothing wrong with melodrama, the problem arises when the script (also by Tornatore) keeps insisting on explaining its own symbolism and subtext, to make sure we get how deep the thing is.

So what are you looking at, really? Is the movie a bait-and-switch? Probably. The film has fun with the idea that nobody would have gotten involved were it not for the chance to work with James Franco and perhaps perform in a sex scene with James Franco (there are no sex scenes involving James Franco, if you were wondering).

Thankfully, the entertaining chemistry between the two young leads in Paranormal Activity: The Marked Ones (Andrew Jacobs and Jorge Diaz), almost saves it.

If the boozy epic confrontations of "Who's Afraid of Virginia Woolf?" or "Cat on a Hot Tin Roof" are your definition of a good time, then this is the place to be.

Dhoom: 3 has — by far — the best action set pieces of the series.

Lone Survivor burns with the fever of a passion project. Writer-director Peter Berg's gratitude to United States servicemen for all their sacrifice comes through viscerally, from first frame to last.

In spite of its enjoyable, easy-to-exploit aspects, 47 Ronin is a big budget spectacle hamstrung by its need to be at once flippant and respectful of its honor-driven source material.

The film represents a formidable achievement for Fiennes as both actor and director.

Let me be frank: to use the words of the august founder of this website, I hated, hated, hated this movie.

Martin Scorsese's The Wolf of Wall Street is abashed and shameless, exciting and exhausting, disgusting and illuminating; it's one of the most entertaining films ever made about loathsome men.

Grudge Match belongs to a fast-growing genre I'll call "Senior Citizen Action Porn," or SCAP. Proud members of SCAP include "Red" and its sequel, "Red 2," the "Expendables" series, and the best of the 2013 crop, Arnold Schwarzenegger's "The Last Stand."

A film that is not so much bad — although it is quite bad — as it is utterly inexplicable.

More about ambience than narrative progress, so if you don't like these kinds of characters (ie: hippy-dippy aesthetes), the film will drive you up a wall.

Another brilliantly mounted drama concerning fracturing families, hidden motives and the difficulties of attaining stability in a rapidly changing world.

When Melanie falls under the spell of a silver-haired pedophile as tall and trim as a Marine (Joseph Lorenz), the film gets set on its rocky path to a conclusion that fulfills the film's title and rounds out the "Paradise" series quite beautifully — if you're not afraid to look.

The New Rijksmuseum is a four hour procession of minute details, an exhaustive catalogue of art world diplomacy and process, but what sticks is the way Hoigendijk weaves all the strands together, crosscutting here, overlapping there.

Her remains one of the most engaging and genuinely provocative movies you're likely to see this year, and definitely a challenging but not inapt date movie.

Lacks the original's momentum. It only sometimes builds to the peaks of lunacy that you want and need from this sort of picture. It goes here, it goes there, it does this, it does that.

When Madea is onscreen, at least you know what universe you are in, and there is something interesting and insane to watch. Otherwise, you are thrust into an abyss of meaninglessness and plot-heavy maneuvering overlaid with Christian propaganda that wears out its welcome with the first line of exposition.

Unfortunately, Nuclear Nation is slow going, and given the uniqueness of the documentation and the importance of its message, it deserves to be more compelling than it is.

It’s thrilling for even a novice fan to watch Pearce.

Neither erotic nor thrilling, but rather reliant on cheap nudity and multiple mistaken-identity switcheroos in hopes of keeping us on edge.

The problem is that writer-director Adrián García Bogliano can't decide what kind of horror movie he wants it to be.