An action thriller that doesn’t know when to quit. For the most part, though, it remains preposterously entertaining.

Its high-octane but low-stakes action might be just the thing for moviegoers weary of summer's operatic superheroes.

Bloodhounds will lick their lips experiencing the re-launch of Kinji Fukasaku's trendsetting Battle Royale (2000) with 3D effects, which basically make the splatter scenes gorier and stickier.

An eye-opener about what it's like to live with a variety of mental illnesses, including obsessive-compulsive disorder -- and, however tenuously, to recover from them.

Redlegs marks the promising directorial debut of film critic Brandon Harris.

Pitch Perfect is an enjoyably snarky campus romp that's both wildly nerdy and somewhat sexy.

A delightfully stylized caper involving a mute little girl, her pet cat and a cat burglar.

It's easy to imagine exhibitors running scared from the documentary, but audiences who find it will be rewarded with a serious and provocative film.

The script's simpleminded shenanigans notwithstanding, the two stars sync up better than their characters do, especially with some rough-and-tumble physical slapstick, resulting in a crude, low-brow audience-pleaser that will hit the funny bones of both performers' fan bases.

An insightful film about the creative talents that have made hip-hop an original, enduring American musical tradition.

Tonally, Deadfall seems to be aiming somewhere between Sam Raimi's "A Simple Plan" and the brilliant Pine Barrens episode of "The Sopranos," with a classic Western showdown at its climax. But the pedestrian writing holds it back.

Refreshingly, V/H/S promises no more than it delivers, always a plus with genre fare.

French farce is alive and reasonably well in 2 Days in New York, a madcap inter-family romp that deftly keeps many comic balls in the air for a good hour, before dropping some in the final stretch.

The script excels at character-driven laughs, cerebral yet goofy, without resorting to sitcom stereotypes or genitalia-focused stupidity.

Playing an emotionally burdened small-town Catholic priest in culturally isolated 1950s Ireland, Martin Sheen does his best work since "The West Wing" in Thaddeus O'Sullivan's Stella Days.

Inevitable or not, it's fun watching two middle-aged lunkheads reverting to adolescent competitiveness, and the fun is compounded by secrecy.

Though the film sets out only to chronicle the group's life, not the history of the disease, some viewers will wish for a parting message making sense of where things stand today, with the disease mostly vanished from headlines but still destroying lives around the world.

Primarily an actors' showcase, it does at least provide the opportunity for the virtuosic John Ventimiglia (The Sopranos) to strut his stuff in a well-deserved leading role.

A lovable underachiever unwittingly spawns his own village in Starbuck, Ken Scott's crowd-pleasing comedy exploring various meanings of fatherhood in the modern age.

It's all sufficiently well done and amusing enough to satisfy the appetites of fans who mainline this sort of thing, but it also sports a concocted, second-hand feel common to this sort of throwback homage.

The premise, and the hijinks that follow, are about as outrageous as anything in today's crop of raunchy comedies. But Nørgaard offers them with a much drier wit than Hollywood typically delivers.

Anne Émond's quietly raw Nuit #1 begins as a highbrow sex film but quickly becomes something much more interesting.

Jones is great in the part, even if this movie doesn't quite prove she should be carrying films on her own, and the actress makes her character's clumsy heartache feel like more than a plot point.

A stunt-documentary whose conceit overlaps with the finding-yourself appeal of a road movie, Joseph Garner's Craigslist Joe is humbly charming.

Burning Man takes its time getting us to feel for a troubled character but gets the hook in solidly once it decides to.

A solid primer that augments exposition with a powerful sensual streak, Mark Hall's Sushi: The Global Catch aims to be a comprehensive look at the raw-fish phenomenon.

A tender and personal look into a first-crush, filmmaker Aurora Guerrero is impressive in her first feature outing.

Well conceived and unmanipulative, it will play well with auds attuned to its social-justice themes.