It Felt Like Love, marks the arrival of a new crop of talent to watch, behind the camera and in front.

Working off what appears to be a pretty decent script by Mark Poirier, who does a good job of juggling quite a few story threads and giving each enough attention and depth, Johnson's rigorous and formal approach doesn't allow for any sparks, let alone fireworks.

What really sells both the fashionable remove and generational paralysis is the pairing of Elliott and McNulty, as they effortlessly establish a passive-aggressive relationship from the get-go that thrives in a constant state of reliably unreliable codependence.

The Art of the Steal won’t trick audiences into thinking they’ve seen anything new, but it’s just clever enough to keep them distracted from realizing that they haven’t.

While the doc should prove essential for Nick Cave fans, it should be inspiring for those interested in the creative process or anyone searching for their muse.

Need For Speed possesses eye-rolling, tone deaf dialogue, passable performances (unless you’re Dominic Cooper or Kid Cudi) and plotting so conventional, there’s not even one surprise U-turn anywhere.

The Face Of Love has splashes of brilliance without and within its overtly saccharine story.

It's easily the scariest movie since "The Conjuring," and in some ways is a deeper and more satisfying film. It's stylish but not showy, more concerned with the thematic undercurrents coursing just beneath the surface.

While the more down-to-earth Chef does offer some fascinating autobiographical dimensions, the film is also an overlong, unfunny, largely insufferable bore.

Neighbors is one of the funniest, most visually inventive studio comedies in recent memory.

As pithy and sharp-witted as the screenplay is ... the direction by series creator Rob Thomas ... is oftentimes flat and visually dull. ... And so the movie, is more than anything, a bold and breathless work of fan service, configured by the creators of the original series for the maximum enjoyment of the fans of the original series.

Forgettable and only mildly entertaining, 300: Rise of An Empire seals its own fate at the initial story level by being so deeply invested in its own mythmaking and playing super safe.

It's the accumulation of a set of ideas that a bunch of creative types and executives think would be clever, instead of something that actually delivers on an engaging entertainment level.

For all its minor faults of under-developed characters and disjointed scenes, “Honey” is worth seeing not only for the compelling performances from the two leads but for the incredibly effective use of light, reminding us just how much other films take it for granted.

Odd Thomas is a much better film than it's non-release would suggest. Hopefully one day it'll find it's audience and people will appreciate it for something other than just being better than "Phantoms."

The Bag Man is, in final analysis, truly disheartening.

The admirable wit that's on display when it comes to subtle motifs and the poignant conclusion that resonates if you let it, regardless of how predictable or not it may seem, are all things that add up to a satisfactory feeling.

In addition to the shocking scenes of sex and defecation I found myself reflecting on the way River of Fundament would slide from a typical “scene” into abstract musicality. It’s a neat trick, one repeated frequently and, quite frankly, one worth further examination. That is, if you can make it across the disgusting river to get there.

Non-Stop isn't exactly a smooth ride, but as far it being the big screen equivalent of an airplane novel, one that you read on the flight and throw away when you get to your destination, it is wildly successful. Just don't think too hard about it.

Inspirational, entertaining, and absolutely awards-caliber (from first-time director Karasawa), Elaine Stritch: Shoot Me offers up an indelible and rare experience in cinematic form—it’s simply an absolute treat to be able to spend this much intimate time with such a legendary lady.

Ultimately, the picture becomes an old-fashioned Bible Belt actioner, a shift towards genre that works on its own, but is tonally a peculiar place to take the events of the film following a string of several shocking and not-so-shocking revelations.

The sincerity and honesty of the stories within, as odd as they are, make The Final Member worth seeking out.

Black Out ultimately limps to feature length, burying its intriguing leading man underneath endless mishaps and shenanigans.

This is easily more exciting and tense than any genre film 2014 has seen thus far.

The odd rhythm of very fast and slick followed by very slow and arty is difficult to settle into, and the film ultimately frustrates, willfully obscuring the apparatus of what appears at first to be a promising film noir framework.

3 Days to Kill might not be art, but it's better than most of the overtly violent action fare that litters the multiplexes these days, thanks largely to the fact that its heart is almost as big as its explosions.

The choking pictorialism of the sets and CG backgrounds, coupled with the barely-there performances, contribute to an inescapable sense of lifelessness and sterility.

When you plunk down your $12, you will get the destruction you were promised. But it's too bad it's such a repetitive, unengaging, glaringly digital experience and worse than that, you'll have to sit through the disaster that is the rest of movie.