Haunting and atmospheric, For Those in Peril proves that creeping grief and guilt can deliver just as much dread-filled dramatic tension as a straight horror movie.

It’s all pleasant and forgettable.

Despite the author’s scripting and the fine central performances by Joan Allen and Anthony LaPaglia, this low-key effort directed by Peter Askin fails to fulfill the potential of its provocative premise.

The Rapture won’t come soon enough for the unfortunate souls forced to suffer through Left Behind.

The homily-laden wrap-up, stressing the upside of bad days, is enough to make you hold your nose, but it only lasts a moment, which is suggestive of the way Arteta and the cast provide the energy and momentum to get the job done but not overstay their welcome.

Gary Dauberman’s haphazard screenplay merely piles on the cheap scares, with director Leonetti cranking the volume up to 11 to accentuate the frequent jolts. It all adds up to a compendium of horror movie clichés.

Essentially a chase movie infused with buddy comedy elements, the film is a fast-paced, mildly entertaining lark that’s chiefly enlivened by Cusack’s droll performance.

Much like the recent, widely reviled I, Frankenstein, this misconceived project mainly signals a need to go back to the drawing board.

It’s perhaps too focused on the Reichsfuhrer’s personal life... while the director’s decision to add sound effects to silent images sometimes feels uncalled for.

Two excellent performances bolster a thoughtful script, and the result is that the discomfort we feel seems perfectly controlled by the filmmakers. The movie is candid and disturbing but never exploitative.

Technically and in his work with actors, Philip represents a great leap forward for Perry; a subsequent jump might involve presenting a central character with whom viewers could legitimately engage.

Though it’s strictly for the faithful, the tween-friendly mix of cute and earnest has a forthright sharpness and is never cloying.

The film is funny, warm-hearted and enormously satisfying.

While the film feels slightly padded and might have been sharper in a tight, hourlong format, it's impossible not to be seduced by the joie de vivre of its subjects.

This computer animated work has strikingly designed characters, and some good isolated sequences, but the script’s un bordel (French for shambolic mess).

Neither an inspirational faith-based film nor an attack on Christian dogma, Will Bakke’s comedy/drama Believe Me plays like a religious variation of "Risky Business" minus the sex.

Renner appears completely immersed in his role and when the clouds of doubt accumulate and the man becomes a professional pariah, it's a painful thing to see.

Laughs are virtually non-existent.

Striking nary an unfamiliar note, The Song sluggishly lurches towards its predictable conclusion — spoiler alert, Jed sees the error of his ways — but it does offer some pleasures along the way.

This film’s thin charms lie not in its authenticity but in its zippy energy, good-looking cast and mild sprinkling of action.

Cutter Hodierne's Fishing Without Nets is a tense drama with well-drawn characters and only as much action as its story requires.

Best viewed as a glossy advertisement for the venerable military academy that is its focus, Field of Lost Shoes doesn’t exactly score points for objectivity.

Good People follows a familiar thriller template without managing to be particularly compelling.

The overwrought, uncontrolled sci-fi thriller Automata is a disappointing example of a film which lacks the imagination to follow persuasively through on its engaging initial premise.

Fortunately, the two stars always brighten the proceedings.

Strickland and Fenton bring an extra layer of visual invention, smartly expanding on the show's pre-existing video elements and adding their own bespoke cinematic touches.

The last sequence takes the esoterism one step farther, in a beautiful ending that seems to link European wealth to those long-ago events in Latin America.

A sharply made, perfectly cast and unfailingly absorbing melodrama. But, like the director's adaptation of another publishing phenomenon, The Girl With the Dragon Tattoo, three years ago, it leaves you with a quietly lingering feeling of: “Is that all there is?”