So the story is relentlessly rudimentary and it’s directed in an expected, uncomplicated, formulaic manner.

There have been some reports that this is the last entry in the series, but it feels like the franchise is (finally) just getting started. "The Expendables 4" anyone?

By the time the curtains draw to a bittersweet close, you’ll walk out feeling rejuvenated, satisfied, well replenished in humor and culture, and already planning your own trip to Italy.

Let's Be Cops is a fine example of what happens when filmmakers rely too heavily on the potential chemistry of the cast, rather than giving actors something decent on the page to work with.

Even within the spinning cylinder of mediocrity that is Into The Storm, there are some minor pleasures to be had. Those are mostly found in Walsh, who is probably best known for comedic supporting turns, but makes the most with what is nearly a leading man part here.

It’s a finely tuned and tenderly detailed love story of two people told on a cosmic scale.

It is very much a first film, albeit one of rare ambition, and there's every reason to think that Benson will nail it next time around. The film's absolutely worth watching for the performances alone... But in and of itself, the "Them" version of The Disappearance Of Eleanor Rigby doesn't quite add up to the sum of its parts.

As the moving, sad, riotously humorous documentary The Dog explains, the film only captured traces of Wojtowicz’s personality, and only told bits of his story.

Always thoroughly pleasant, and that's entirely due to the cast, who all turn in breezy performances.

Much of the credit must go towards the makeup crew. It's a Fangoria funhouse up in here: Cabin Fever: Patient Zero has some of the most disturbing, disgusting gore effects of all-time. This is a movie made by people who have studied some of the worst injuries known to man.

This is advertisement masquerading as a story, pretending to be a movie, but at the very least, it’s for a good cause.

It can't be overstated what kind of a marvel these Turtles are onscreen, however. As crude and unpleasant their design might be, they feel like living, breathing things, not special effects.

[A] fascinating depiction of another kind of wolf of Wall Street, one whose endless hunger is only matched by his vile soullessness. [Unrated Version]

It’s a crowd pleaser of a film, whose powerful musical moments can overshadow any smaller issues within the film.

This kind of vérité surrealism doesn’t come along very often, and the glorious oddness that Zurcher manages to infuse into even the most routinely domestic activities is really the gift the film keeps on giving.

Elusively told to the point of irritation, joyless and shot in chilly incarcerating rooms, War Story has the look and feel of an exhausted ashtray and borders on the pretentiously unclear.

It's mythmaking for dummies, a Hercules with no poetry, only incompetent brute strength.

Alive Inside contains a tiny revolution within its message, and will likely end up being one of the most important documentaries of the year.

The Kill Team doesn't saint Winfield at all, instead, smartly casting responsible, impartial questions as to what his options could have been.

Gunn’s careful to keep the focus on the central five, but certainly proves himself capable of the bigger canvas. The film really pops visually, with an admirably bright color palette (DP Ben Davis doing excellent work), and though there are occasionally some geography issues, the action is mostly satisfying.

It's basically the perfect summer movie, because it's designed to be.

Made in America proves that the American dream is undeniably powerful, even to those who have accomplished so much that they have to appreciate it in a form that borders on the abstract.

Tired, lazy, incongruous, shocking and hilarious in all the wrong places, Rage is destined for the graveyard television slot, squeezed between infomercials for mops.

You wish Evelyn Purcell's action thriller just had a bit more character, and not a budget-cutting location that looked great in front of a camera.

Magic In The Moonlight is good in many regards, and mostly enjoyable for most of its 97 minute running time. But it’s also admittedly uneven in spots, familiar and ultimately a bit slight.

This one veers further from actual horror into an action picture. “The Purge” tries to unsettle. The Purge: Anarchy wants you to cheer.

At 100-minutes, the movie drags and drags until finally losing steam in the last act and then collapses into a pile of worn out platitudes, limp gross out gags and gooey sentiment.

The actions and events are naked to our eyes, not couched in reasons and justifications, not softened by explanations, by words.